Search results for "Carpenter Center"
Big Terminal Energy
Pelli Clarke Pelli creates a collection of new civic nodes in San Francisco
Why are architecture’s major professional organizations silent on the immigrant detention debate?
SOM's Engineering + Art + Architecture exhibition opens at the MAK Center in L.A. this weekend
Upping the Ante
Las Vegas supersized convention center expansion approved
New York Dreaming
WeWork opens offices next to Fulton Center's Sky Reflector-Net
The project is WeWork's 15th office in a landmarked site (the Corbin Building was landmarked in 2015) and its eighth in New York City. Cautious of eradicating the 127-year-old building's history, WeWork kept new design interventions to a minimum. Existing elements in the Corbin Building, including an eight-story bronze and marble staircase, along with Guastavino tiles in the arches of the doorways (which form part of the French Gothic detailing found throughout the building and on its facade), were renovated.Light permeates the space courtesy of the conical atrium which the office wraps around on the third floor. Officially known as the Sky Reflector-Net, the dome structure is the work of James Carpenter Design Associates, Grimshaw Architects, and engineering firm ARUP. The office area comprises places to read, conference rooms, a reception, and hot desks. A pantry and range of common areas operate as stand-alone areas. From inside, occupants can peer through the structure's complex of perforated optical aluminum panels, tensioned cables, high-strength rods, and stainless steel elements down onto the 300,000 transit users that pass through the center every day. The narrow space within the Corbin Building, meanwhile, will provide space for functions and office events. Bridging old and new, a 3D art installation by local artists, The Guild, is located on the threshold between the Corbin Building and Fulton Center and aims to unify them through material and color. In a statement emailed to The Architect's Newspaper, WeWork said:
WeWork Fulton Center is uniquely positioned across both the landmarked Corbin building and a new major transit hub. We have a history of breathing new life into historic buildings, and we’re proud to help give new futures to iconic pieces of the city’s history.Also appearing this week within the Fulton Center is a new artwork installed by the MTA Arts & Design program. Titled New York Dreaming and by artist Anne Spalter, the kaleidoscopic video installation on show for the holiday season.
Yes We Kahn
AN EXCLUSIVE: Getty Conservation Institute begins restoration of Louis Kahn's Salk Institute
Building for Community
Francis Kéré's diverse work featured at Philadelphia Museum of Art
Berlin-based, Burkina Faso–born Diebedo Francis Kéré is far from a typical architect, and his current one-man exhibition at the Philadelphia Museum of Art, on display through September 25, is also far from typical.
Kéré, 51, was born in Gando, an agricultural village in the West African nation of Burkina Faso, which has one of the world’s poorest and least educated populations. The first son of the tribal head of Gando, he was the only child in his village permitted to attend school, which he did in Burkina Faso’s second largest city, not far from Gando. He apprenticed to a carpenter there and in 1985 received a scholarship for a training program in Germany. After taking night classes in Berlin to earn his high school diploma, he studied architecture at the Technische Universitate and established his architecture practice there in 2005.
One of his earliest projects—which won him the Aga Khan Award for Architecture in 2004 and a prominent role in MoMA’s 2010 exhibition, Small Scale, Big Change: New Architectures of Social Engagement—is the 1999–2001 primary school he designed for Gando, which illustrates the cover of MoMA’s exhibition catalogue. It consists of three detached, rectangular classrooms, constructed of adobe and cement bricks, hand-made by locals; the school is covered with a corrugated metal roof and a dry-stacked ceiling of clay bricks that lets hot air escape from the classroom interiors.
According to the MoMA catalogue—which describes the construction of the school as “truly a community endeavor”—some Gando workers who built the school subsequently became skilled laborers on other projects, while local families’ interest in the school skyrocketed, with the enrollment of children who previously did not attend school from surrounding villages.
Kéré’s work in Gando continues. It’s illustrated in the Philadelphia exhibition with photographs, and actual building materials and tools, such as clay and wood samples, machine-pressed and hand-formed bricks, and laterite stones. He has designed teachers’ housing and an extension of the primary school, both complete, while a primary school library and a center for sustainable construction technologies and research are under construction.
Tall kiosks throughout the exhibition feature photographs of Kéré’s past, present, and future projects in Africa, including the Center for Earth Architecture in Mopti, Mali, and the Obama Legacy Campus in Kogelo, Kenya, birthplace of President Barack Obama’s father, as well as his work in Europe and the United States. The former includes a Camper pop-up store at the Vitra Design Museum in Weil am Rhein, Germany; an installation at this year’s Fuorisalone in Milan inspired by the social and spatial dynamics of a typical African village; and the repurposing of former military barracks in Mannheim, Germany, into a hub for local engineering industries, now under development. His only U.S. project so far is the Place for Gathering, a “seating terrain” of locally-sourced wood that was designed for visitors from around the world attending the Chicago Architecture Biennial.
Also unusual in the Philadelphia exhibition is the subject matter and presentation of three videos, all shot in Africa and never displayed before. One video about a recently built school in Koudougou, Burkina Faso, depicts many stages of the project, all performed by locals without the use of heavy machinery. Seating here is provided by chairs made in Philadelphia, using the same materials (steel rebar and plywood) and design as Kéré’s chairs for Burkina Faso schools. Another video, which depicts overhead enclosures—including tree canopies, traditional thatch, and modern roofs made of steel trusses—was shot skyward and is shown on a large monitor hanging from the ceiling; a viewing platform below encourages visitors to lie back and observe. The third video, projected from the ceiling directly onto the floor below, explores the concept of shadow, whether in a classroom with chalkboards and desks, or under a baobab tree, and how shadows facilitate learning. One can walk into the projection, literally stepping into the gathering place.
Visitors pass the final part of the exhibition, a site-specific installation called Colorscape, as they enter the exhibition’s primary gallery, Suspended from the museum’s ceiling are steel frames threaded with hundreds of pieces of Philadelphia-made lightweight cord in many different colors. The rectilinear layout of the frames represents the formally-planned grid of William Penn’s Philadelphia, while the paths and spaces carved from the mass of strings represent the organic grid of Gando.
Those passing through the variously colored elements also can hear the Sounds of the Village, audio recorded in both Burkina Faso and Philadelphia, the former including sounds of the wind, birds, and chickens, the latter sounds of local streets and a Philadelphia Flyers hockey game. Just as Kéré enlists local people to work on his projects in Africa, Philadelphians—including University of Pennsylvania architecture students, museum staff, volunteers, and visitors—helped construct this installation.
In Gando and other agrarian societies, children learn from their elders, who teach them orally; they also learn by doing. Similarly, since he started his practice, Kéré has aimed to communicate design and architecture simply and directly, to be understood by African laborers not educated in reading sophisticated plans or architectural drawings, as well as by children. All these concepts inform the Philadelphia exhibition, stimulating thought and visual pleasure.The Architecture of Francis Kéré: Building for Community runs through September 25, 2016. For more on the exhibit, visit here.