Search results for "gensler"
What is a facade?
Doriana and Massimiliano Fuksas contemplate the emotions behind architecture at Facades+ New York
ASLA-NY announces its 2019 Design Award winners
that while colonization, with its techniques and its political and juridical weapons, obviously transported European models to other continents, it also had a considerable boomerang effect on the mechanisms of power in the West, and on the apparatuses, institutions, and techniques of power. A whole series of colonial models was brought back to the West, and the result was that the West could practice something resembling colonization, or an internal colonialism, on itself.“Firms like KPF and Foster take on these projects overseas where they can grow and practice working as larger firms,” said Todd Reisz, assistant professor at Yale, “Once they get big and good enough, they can bring these ideas about—how to make a city from the ground up—back home.” This is how New York’s Little Dubai came to be. The original Dubai was opened up to private land ownership in 2002 in an attempt to become a stable place post-9/11 for foreigners—especially Middle Easterners, Africans, and South Asians—to park their money. Special economic zones were established that allowed business and development to operate without the strict controls of Shariah that governed the rest of the UAE. In these economic zones, international trade was encouraged by specially crafted civil legal code geared specifically toward port businesses (foreign investment.) For example, a team of international consultants from mega-firm McKinsey advised the Dubai government in 2002 to draft a set of UK-style regulations for the Dubai International Financial Centre (DIFC) free zone, a “state within a state” that would operate with a different official currency—the U.S. dollar— and a different official language—English—than the rest of the UAE. It was designed by none other than architectural behemoth Gensler. This international managerial complex was the logical conclusion of some 300 years of colonial urbanization of developing nations around the world, perfected by the UAE government. Companies like Emaar and Dubai Holdings buy and develop enormous plots of land that serve as self-sustaining neighborhoods that don’t need to have much connection to their surroundings. Because of their sheer size, and the scale of the projects they oversee, these massive companies also obscure the relationship between public and private. In New York’s Little Dubai, a similar situation exists. The New York City Department of City Planning (DCP) acts a bit like the real estate state of the UAE, doing large rezonings and tax incentives to foster these big developments. Nearly 1 billion dollars in tax abatements were given to Related Cos., Little Dubai’s developer, in addition to nearly 4.6 million in infrastructure improvements and other incentives. And often, because of the private nature, DCP has little authority to begin with. Because the development is on state-owned land, there was no oversight from community boards. The parcel became part of a larger economic development strategy that usurps local regulation, leaving the citizens of New York City more-or-less out of the conversation. Little Dubai is regulated by a network of rules and capital that transcends physical territory, just like the “Old World” Dubai in UAE (this model is also being pursued by ultimate cloud-based dark-power-mongers Google in Toronto). This has led to a sort of Free Economic Zone, where Stephen M. Ross, Related’s chairman, is a sort of urban autocrat, pushing through what he wants when he wants. For example, in Little Dubai, Thomas Heatherwick’s 154-staircase monument Vessel was simply ordered for $200 million, shipped from Italy, and fastened together in about 18 months, with little in the way of design review or public process. It is not necessarily a bad thing, but it raises important questions. At 28 acres (0.042 sq miles, or 11 hectares), Little Dubai has the characteristics of an entire neighborhood, with its own circulation paths, central public space, and complete set of programmatic functions from retail, residential, commercial, “cultural,” and leisure/hospitality spaces carefully orchestrated in both plan and section. Dubai is a place where these large private developments have happened so fast that they do not relate to one another on the street-level. The piecemeal nature leaves hotels and malls and gated communities difficult to access because nothing was planned to connect at the street. While Dubai’s infrastructure haphazardly connects these megadevelopments with curls of spaghetti-like roads and onramps, Hudson Yards has similarly managed to bend New York’s infrastructure to its will—the 7 subway line was extended to the northern entrance to Little Dubai’s main plaza. 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 process of globalization and the complete control of technocratic consultants has crystallized in spectacular fashion before our eyes in New York’s newest neighborhood, Little Dubai. What remains to be seen is how the local context will absorb this pseudo-neighborhood. What is scary for New Yorkers is that it seems like it is going to fit right into its place at the apex of the Highline.
OH! San Diego 2019
Open House! San Diego releases lineup for March event
Welcome to the Big D
Facades+ Dallas will dive into the trends reshaping Texas's largest metro area
From a conceptual standpoint, our work on a vertical campus in Downtown Dallas took cues from many lessons we have learned abroad, from site response to contextual integration, and paired these attributes with an evolving corporate business model. Ultimately, the concept was shaped around an affordable housing project just to the east of the site, maintaining a view corridor through the gesture of a loop that ultimately became a symbol for the company’s programmatic model. It is one in a line of projects coming up in Texas that we are excited about.
From a facade standpoint, our hospitality group is working on a Grand Hyatt Hotel in Kuwait that is currently under construction. The facade concept of self-shading finds a balance between the harsh climate of the region and the demand for expansive views. The pitch results in the natural placement of photovoltaics with the underside of the bay providing a highly transparent opening with minimal direct solar heat gain. The same team recently completed the core and shell of the Maike Business Center and Grand Hyatt in Xi’an. Here, two towers were linked by a belt truss to limit lateral loads while serving as a critical program link between the hotel and office towers. The facade was a simple extruded, serrated form linked in the middle by a vertical screen that emphasizes the composition.
I am working currently on the design of two China-based projects with quite a range of scale between them. OCT Chengdu is on the larger side with a dominant facade facing a key convergence of traffic in the city. The facade plays into that movement with a series of fins that peel upward to reveal the activity of the mall behind, thus activating what is traditionally a hard face. We have been working further to optimize this system. This project is currently under construction and should be complete in a few years. On the other side of scale, we recently began work on an Audubon Center in Zhengzhou. The concept is about tying program and landscape together underneath an observation ring. We have been working with Thornton Tomasetti on realizing the ring as a completely unsupported element over the waterfront with full height curved glazing that reveals the public behind, as if the visitor were a part of the facade experience. The Zhengzhou project will start in construction in a few months and be complete by the middle of next year.
AN: What unique opportunities and challenges are present for architects and designers in Dallas?
MF: Mark Lamster summed it up well in a Dallas Morning News article from April of 2016, "Dallas Architecture is a joke (but it doesn't have to be)."
In my opinion, the potential in Dallas is to be proactive rather than reactive toward challenging and evolving typologies but with that comes a certain degree of investment and risk. We can take lessons from two organizations that I believe have had the most impact upon the city in BC Workshop and Better Block. Both groups have been recognized for their innovative approaches to typologies and community engagement. The Cottages at Hickory Crossing is a noted example on the city’s south side.
An engagement of our value as architects and designers to all parties involved in a project, from developer to community, is key, but change will also depend upon us stepping out and trying something without permission. As Dallas further evolves, there is no better place to test and experiment, but we have yet to really commit to that, beyond few examples. In all, it is really getting back to our fundamentals of why we practice this profession and to search for its meaning once again.
AN: Which ongoing Dallas developments do you perceive to be the most exciting in terms of facade innovation and overall impact on the city?MF: There have been some noted transformations in Downtown Dallas, from work by Architexas on the Joule Hotel, to Merriman Anderson’s work on the Statler Hilton, all the way to more recent conversions of 400 Record by Gensler. Each of these, among others, have defined in many respects the process of historical rehabilitation in Texas, but also have transformed the program in all cases. Almost overnight, there is a developed rhythm toward respecting the past and redefining the urban realm. The Statler and 1401 Elm represent the largest and most challenging cases of preservation in the city. Statler was many years in the making. Historical innovations during the 1950s proved quite challenging in the rehab of the building. The results of maintaining such a celebrated form and period in the rehab are nothing short of a feat. 1401 Elm is currently undergoing its makeover, with the marble currently off-site for rehab. It has stalled a few times during recent years but hopefully, it will become a major contributor once again.
Both projects are a glimpse into a city that is continually working to value its history more and more by the day. With our first panel, we hope to shed further light on this discussion.Further information regarding Facades+ Dallas may be found here.
It's a Gas: The Allure of the Gas Station Edited by Sascha Friesike, with a preface by Jay Leno Gestalten $60.00The Current: New Wheels for the Post-Petrol Age By Paul d’Orléans, Robert Klanten, and Maximilian Funk Gestalten $50.00 Automobiles fascinate architects. Le Corbusier designed the Voiture Minimum; Buckminster Fuller, the Dymaxion; Renzo Piano, the Flying Carpet; and Norman Foster, the Routemaste. And while Charles and Ray Eames were posing with a Velocette motorcycle, Michael Czysz—founder of Architropolis, his firm—was designing the record-breaking MotoCzysz E1pc electric motorcycle. Given recent developments in electric vehicle (EV) innovations, designers may soon create new infrastructure for these silent, zero-emission vehicles. Two books from international publishing house Gestalten reflect on this crossroads with one foot on the accelerator and one hand on the wheel. Jay Leno—late-night comedian and automobile aficionado—introduces It’s a Gas: The Allure of the Gas Station, edited by Sascha Friesike. Leno recalls his childhood fascination with “grease monkeys,” tending vehicles, hot rods, and watching new models come and go. Leno also remarks on gas station architecture, including Richard Neutra’s now-demolished stations. From the introduction onward, Friesike’s volume takes us on a joyride around the world of gas stations. Gas stations never became a celebrated typology, despite celebrated architects like Albert Frey and Norman Foster designing them. It’s a Gas begins to address this curiosity. Friesike presents an aesthetic history of the gas station from its 1888 origins in a Wieshold, Germany, pharmacy to the contemporary designs of Philippe Samyn and Partners. Along the way, Friesike also casts his gaze on Arne Jacobsen’s 1936 rectilinear facility with a contrasting sinuous canopy—a beautiful prototype sadly never replicated—and Atelier SAD’s mushroom column canopy. Canopies are typological features that shield from sleet, sun, and rain, and can encompass concrete shells, decked trusses, or even a B-17 bomber. Some stations forgo the billboard and inhabit teapots, tee-pees, and cowboy hats. Novelty attracts customers (there even exist floating gas stations to service motorboats), but unfortunately, in the U.S., mega-pump filling stations like Buc-ees seem to pass for novel. Canopies can differ greatly. Postcards from Eugenio Grosso’s trek from Kurdistan to Sulaymaniyah, and Tim Hölscher’s photos of isolated gas pumps and stations highlight typological differences. Every modern master has had stops and starts in petroland. In Quebec, in 2011 (the book misdates it as 2002), Les Architectes FABG completed the conversion of Mies van der Rohe’s Neue Nationalgalerie-esque gas station into a community center. In 2014, the Pierce-Arrow Museum in Buffalo, New York, unveiled a non-operational version of Frank Lloyd Wright’s never-realized station. Equal parts nostalgia and premonition, “Ghost Town Gas Stations” closes It’s a Gas by questioning the gas station’s future. If their fall “from grace came as the golden age of flying was ushered in,” will they hit rock bottom now that EVs have hit the scene? The Current: New Wheels for the Post-Petrol Age by Paul d’Orléans, Robert Klanten, and Maximilian Funk leans into this question, examining the state of EVs. Motorcycle aficionado d’Orléans charges through a history of EVs before running the gamut of the latest electric transporters. Given the author’s focus on motorcycle history and customization (and from working with him personally at motorcycle film festivals), I was pleasantly surprised to see all manner of land vehicles included in his survey. EVs are ideal for urban commuting. Electronic cars and motorcycles have a range of 150 miles at highway speeds. Electric bicycles and scooters are more accessible, but fizzle out around 60-mile ranges at 35 mph. China has been leading this “e-volution” by changing licensing classifications on e-scooters and banning internal combustion engine (ICE) scooters in large cities, leading to myriad manufacturers and sales of e-scooters. Other countries have been slower to adopt EVs, despite riders’ praise of their “fun factor” and sustainability. To combat customer hesitation, Taiwan-based electric scooter manufacturer Gogoro designed an e-scooter with batteries that can be easily exchanged. A subscription-based station network in Taipei supports its riders, who have already collectively logged 186 million miles. This infrastructure is key to reassuring potential riders that their destinations can be reached. Similar networks are now being planned for Paris and Berlin. Even mainstream manufacturers are flipping the switch. BMW developed an e-motorcycle weighing in at 600 pounds—a whale by industry standards, as many other models hover at around 250 pounds. Other large manufacturers developing EVs on the two- and four-wheel front include KTM, Yamaha, Porsche, Lamborghini, and Honda. Tackling a more sustainable approach, Ferrari has developed an E-Type concept retrofit for its 1950s through ’70s models. Taking sustainability further, the Dutch e-scooter Be.e boasts a flax and bio-resin body that foregoes the use of metal and carbon. Waarmaker—the designers of the scooter—said of their design process: “Form follows material and production.” Many EVs don’t travel far from the traditional styling of their ICE cousins. D’Orléans explains: “Designers walk a fine line of trying to push the boundaries of styling and technology while catering to a surprisingly conservative streak among the supposed rebels on two wheels.” The same goes for cars—witness name-brand dealer offerings. Thankfully, d’Orléans’s arc surpasses workaday solutions to showcase more provocative and lesser-known innovators. Joey Ruiter, who has designed furniture for Herman Miller, eschewed telltale signs in his Consumer car and Moto Undone motorcycle: Both are pared-down, minimal, rectilinear forms, in black and mirror finishes, respectively. These vehicles, while alluring, do not reference any stereotypical automotive styling. Bandit9 Motors’ bespoke L-Concept motorcycle is a tube with a turbine attached on two wheels. Meanwhile, Ujet’s Electric Scooter looks traditional but has an asymmetrical folding frame and battery-seat module that can be detached like a portable, wheeled tote for easy recharging. BMW’s Motorrad VISION NEXT 100 concept vehicle at once mimics the lines of the company’s first motorcycle and resembles a Tron Light Cycle. United Nude’s black crystalline Lo Res Car is as mysterious as Kubrick’s 2001: A Space Odyssey monolith. EVs and their potential infrastructures are inherently sci-fi. The books by Friesike and d’Orléans are both beautifully designed and illustrated, and one won’t find better volumes on EVs and gas stations without traveling to the realm of the overly technical. The Current lists specifications with its case studies, but highlights design, not mechanics. It’s a Gas exposes a new typology without drilling into the industry. Together these books anticipate the future of automobile architecture, including approaches to designing adaptive reuses of filling stations and exploring new types of e-stations.