For Belgian coworking start-up Fosbury & Sons, repurposing underused office blocks has become a calling card. Rapidly expanding with new outposts throughout Belgium and the rest of Europe, the young company has strategically chosen historic buildings, designed by relatively unknown modernist architects, to fit out its unique brand of shared workspaces. Fosbury & Sons aims to do away with the old office model and instead offer a much-needed alternative for today’s mobile professional. “We spend half of our lives working in uniform environments that haven’t fundamentally changed in fifty years,” explains Fosbury & Sons cofounder Stijn Geeraets. “Most offices are undervalued when it comes to design and the consideration of experience. But workers are starting to reject this uninspiring sea of sameness.” The challenge of creating new models of working environments within old office towers is not lost on Geeraets and his partners. “We like the idea of using old buildings that have almost completely lost their soul. We’re infusing them with new life and activity that is more sustainable in the long run,” he explains. While Fosbury & Sons’ first office—in Antwerp, Belgium—occupies Léon Stynen’s 1958 WATT-tower, its second location, in Brussels, takes over a whopping 23,000 square feet of a former concrete company headquarters: a distinctly Brutalist tower designed by Constantin Brodzki in 1970. Set along the city’s green periphery, the monolithic building strikes a memorable pose with its peculiar facade, composed of 756 prefabricated oval concrete modules. The convex windows they contain create a three-dimensional texture. Fosbury & Sons tapped local studio Going East to design the layout and interior of both the Antwerp and Brussels complexes. Inside the latter building, the studio worked with the preexisting structure, sculptural shell, and notable architectural details to reorganize the massive space. Its choice of earth tones extends the building’s late modernist aesthetic. Hay, Vitra, Norr11, and classic Danish Modern furniture were also used to drive the overall concept home. Spread across seven floors, a series of “Suite” and “Atelier” private offices, breakout lounges, and meeting spaces can accommodate 600 members. An integrated daycare center makes it possible for them to interact with their children throughout the day. While the Coffeelabs restaurant and lobby bar on the lower floors are best suited for impromptu meetings, Bar Giorgio on the top floor offers sweeping views of the nearby Sonian Forest and provides a space to unwind at the end of the day. Fifteen meeting rooms and a large auditorium are also available for temporary use. Combining amenities from home and hotel, the holistic vision for this project culminates with a rotating art collection. Top Belgian gallerists like Rodolphe Janssen and Veerle Verbakel have been charged with selecting art and limited-edition design pieces that are exhibited throughout the building.
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The San Francisco Museum of Modern Art (SFMOMA) examines one of the earliest innovations in environmentally conscious development in its current exhibition, The Sea Ranch: Architecture, Environment, and Idealism. The show chronicles the history of the development at an extraordinary site along a ten-mile stretch of the Pacific Coast, where steep cliffs and coastal bluffs have eroded into layers of marine terraces to frame the luminous and moody ocean below. The story of Sea Ranch begins with the acquisition of the site by the developer, Al Boeke, who obtained the working sheep ranch for Oceanic Properties, a division of Castle & Cooke, a real estate company. Boeke, who had worked with Richard Neutra, was also an architect and saw an opportunity to do something different. He recruited Harvard-trained landscape architect Lawrence Halprin to develop the master plan, as well as a roster of architects, including Joseph Esherick, the firm of MLTW (Charles Moore, Donlyn Lyndon, William Turnbull Jr., and Richard Whitaker), Obie G. Bowman, and others to participate. Halprin’s master plan would not only define the design aesthetic for Sea Ranch, but would also challenge the cookie-cutter approach to planned communities that had emerged throughout the U.S. after World War II. Halprin, who had spent childhood summers on a kibbutz near Haifa, Israel, envisioned a community based on collaboration and shared community. People would “live lightly on the land,” as the indigenous Pomo people, the first inhabitants of this land, did. The curators of the exhibition included photos of dance workshops choreographed by Halprin’s wife, the modern dance pioneer Anna Halprin. These photos, combined with Halprin’s diagrams of the “Sea Ranch Ecoscore,” situate the development, in part, as a period piece of the 1960s, echoing a freewheeling West Coast lifestyle. However, the exhibition clears up any misimpressions of Sea Ranch as primarily a social development with utopian yearnings, making clear that its main subject has always been design and its relationship to the land. If a certain taste and ideas about light, color, and detail distinguish the Sea Ranch design, it is because these were born out of the designers’ sensitivity to climate and place. The slope of a shed roof deflects the wind, and a courtyard creates protected shared spaces. A bay window protrudes to capture a view, and hedgerows are planted as natural wind breaks. The meadows are left open, and houses are set back from the edge of the cliffs, creating a communal landscape. Details matter too. Buildings are clad in unfinished wood that is allowed to fade to natural gray. Skylights puncture the roofs of cabins to capture sky views of the redwood forest. Donlyn Lyndon noted, “We wanted to make buildings part of the land, rather than buildings that sat on the land.” Sketches, drawings, and pages from the designers’ notebooks line the walls and tables of the gallery. These works include the original master plan and concept sketches by Halprin and work by the architects, such as Joe Esherick’s scheme for the General Store and MLTW’s plans for the modules for Condominium One, conceived of as a kit-of-parts. Scale models of Moonraker Athletic Center, Unit 9 in Condominium One, Cluster Houses A, and the Hedgerow Houses were fabricated by architecture students at the University of California, Berkeley. At the center of the gallery, a 1:1 scale partial construction of Unit 9 of Condominium 1, designed by MLTW in 1965, has a soaring loft, built-in benches, and a sleek but cozy feel. It is easy to imagine an afternoon stretched out on the long bench with a book, looking out at the churning sea. Inside the mock-up, a video presents interviews of many of the original players. Donlyn Lyndon, Mary Griffin, Obie Bowman, Anna Halprin, graphic designer Barbara Stauffacher Solomon, and others recall their impressions, debating whether the dream was deferred or lives on. Hard lessons were learned. A growing awareness of coastal access emerged in the early days of the development. Negotiations followed between the developers and the newly formed California Coastal Commission. The Sea Ranch ceded land to create six public trails. This fight stalled momentum for a decade, and the project shrank in size from its original plat map for 5,200 individual building sites to around 1,700. As a result of the complications around coastal access, sales fell off. Critics saw the development as out of touch, elite, and fuel-intensive, as it is accessible only by car along Highway 1. Getting there meant driving or maybe flying, and once there, there were few retail shops or services. In the video, Lyndon noted, “The myth is that it fell apart, which isn’t entirely true. The truth is that it needs reaffirmation…” The reaffirmation may have appeared in the form of this exhibition. As a powerful and immersive museum experience, a moment in American architecture is captured when ideology, talent, and opportunity converged. Once seen, it would be difficult to dismiss the poetic quality of the Sea Ranch site and the elegiac response of its developers and designers, who allowed the nature of what is there to take form. While setbacks may have colored its utopian vision, they did not negate the project’s importance in the pantheon of American design. From Sea Ranch, designers will continue to glean lessons about building within landscapes, respecting and protecting the natural character of a place, and designing houses that suit their sites, climate, and inhabitants. The Sea Ranch: Architecture, Environment, and Idealism is on view at the San Francisco Museum of Modern Art, through April 28, 2019.
Annabelle Selldorf, Stefano Boeri, and Rafael Viñoly headline New York’s City of Tomorrow summit
City of Tomorrow, a two-day summit in New York conceived by Hundred Stories and 92Y, will tackle timely topics like resiliency, the “we” revolution, and culinary innovation’s role in urban placemaking. Over 50 experts, including architects, local restauranteurs, city officials, designers, and real estate developers, will gather on March 15 and 16 to talk about what it’s going to take to create a healthy future for New York. “This year’s dialogue focuses on themes none of us can afford to ignore,” said Robin Dolch, president of Hundred Stories, in a statement, “resiliency for the city, urban solutions for the decades ahead, prioritizing the people and community in our planning, the lessons biology can teach us about building better and wellness strategies at the forefront of everything in real estate and design.” Now in its third year, the symposium features a comprehensive lineup of talks led by an even more stacked list of speakers. Annabelle Selldorf and Rafael Viñoly will headline an architecture keynote address alongside principals from SOM and Bjarke Ingels Group, while emerging leaders in the field like Danei Cesario, Alda Ly, and Jenny Sabin will talk about coworking, nature, and wellness. AN’s own editor-in-chief Bill Menking will moderate a panel on innovation and the built environment, featuring speakers from Oiio Studio, ShoP Architects, and more. The discussions taking place at City of Tomorrow will cover not just buildings, but also how food, tech, nature, and art play into a city’s success. Award-winning chefs José Andres and Missy Robbins, as well as Marcel Van Ooyen of GrowNYC, will talk about creating developments with culinary destinations, while Shin-pei Tsay of the Gehl Institute and Tim Tompkins from the Times Square Alliance discuss urban planning and innovation. Architect Stefano Boeri and Martin Bechthold, PhD, Harvard’s Kumagai Professor of Architectural Technology, will also discuss what animals and plants can teach humans about building better. Panels with titles like “The Future of Retail,” “What’s New in New Development,” “Real Estate Mysteries Revealed,” and “Paint the City” allude to more of the expert knowledge on New York living that will be shared during the two-day conference. For a full listing of speakers, check out the event website. Registration is still happening and can be found here.
Small Spaces, Big Impact
AN Interior explores the best “Small Spaces” from our Best of Design Awards
As land prices continue to rise and supertall skyscrapers flourish, there’s been a resurgence of smaller, more intimately crafted spaces that prize attention to detail over grandiose statements. Accessory dwelling units (ADUs), tiny homes, backyard studios, and obsessively detailed retail and restaurants are blowing up across Instagram and design-obsessed blogs. Whether it’s a self-constructed, modest wood cottage built with knowledge from A Pattern Language; the Olivia Wilde–designed tiny home commissioned by Dunkin’ Donuts; or a Beijing teahouse clad in polyethylene bricks by Kengo Kuma, these small spaces have captured the imagination of the public as well as architects. The reasons should be obvious. They’re photogenic, self-contained worlds that can reveal themselves—and the design narrative—more easily than the average skyscraper. Small spaces bring with them a unique set of challenges and opportunities. The spatial constraints are obvious, but programming and mechanical considerations can hamstring the most ambitious plans. On the flip side, the flexibility, low cost, quick construction times, and required attention to detail can result in truly experimental (and beautiful!) spaces. When The Architect’s Newspaper selected the 2018 Best of Design Awards winners for small spaces, the editors looked for exemplary projects that made the most out of their miniature means. From a mobile espresso bar in Colorado that took home top honors to a cabin perched above the White Mountains region in New Hampshire, the following projects rose above the rest in 2018. Birdhut Studio North Windermere, British Columbia Perched in the temperate forest that blankets the mountains of the Columbia Valley is an A-frame cabin that welcomes both humans and birds. With 12 nesting areas built into the project’s facade, Studio North has designed a fractalized birdhouse that also fits two humans. The 100-square-foot cabin is a passive intervention in the landscape. Nearly all of the materials used to build the retreat were locally scavenged. Lodgepole pine felled by a recent forest fire was employed to build the cross bracing that lifts Birdhut 9 feet off the ground, and the timber for the deck and cladding were taken from an older cabin. Eight-millimeter-thick polycarbonate panels clad both sides of Birdhut and, much like a greenhouse, trap sunlight to heat the interior. The translucent panels also visually dissolve the hut into the canopy. Circular windows on either side of the treehouse provide passive ventilation. Cabin on a Rock I-Kanda Architects White Mountains, New Hampshire You could call it glamping, but don’t call it easy. When Massachusetts-based I-Kanda Architects was tasked with designing a cabin for a family of four on a rocky granite outcropping in the White Mountains of New Hampshire, uneven topography proved both a challenge and an inspiration. Instead of leveling the precariously peaked site, the 900-square-foot cabin cantilevers out atop nine hand-poured concrete footings. Because of the limited amount of granite the team had to build on, a loft area was added, and the cabin’s massing was sloped and carved away to prevent snow buildup, follow the natural contours of the site, and preserve views of the surrounding mountains. A simple material palette of birch planks and sheetrock keeps the interior light and playful even in the dim winter months and lends gravitas to the black wood stove. The cabin’s framing members were precut and assembled on-site, allowing the team to quickly assemble the building despite its complex geometry. Sol Coffee Mobile Espresso Bar Hyperlocal Workshop Longmont, Colorado Designing a mobile coffee bar that would bring high-quality craft roasts to discerning customers on the street was a challenge that held personal stakes for Andrew Michler; he is both the principal of Masonville-based design firm Hyperlocal Workshop and a co-owner of the coffee bar itself. In order to bring the full cafe experience to a 1979 Toyota Dolphin Camper, Hyperlocal had to balance the energy requirements of a fridge, water heater, espresso machine, grinders, and brewers against the truck’s 115-square-foot footprint. Instead of a smoky diesel generator, the team installed three 345-watt solar panels on the truck’s roof—enough to power the mobile coffee bar for the entire day. The camper was wrapped in translucent polycarbonate panels that silhouette the machinery within and cut a unique mountainous figure that makes it recognizable to customers. The barista window was placed at the back of the truck and the floor was lowered to allow employees to interact with customers at eye level. Further, a U-shaped galley counter system was used to optimize barista workflow—Michler claims the truck can serve 50 drinks an hour with “minimal wait times.”
“Attention: The fire alarm system is about to be tested. You do not have to leave the building. When all testing is complete, you will hear a further message.” In the local council buildings in Greater London, the fire alarms are tested every Friday at 3 p.m. The seventeen associates of the independent nonprofit Public Practice have learned this by now, a few months into the nonprofit’s associates program. The participants are selected and placed at public planning offices in the region and meet up every two weeks, one hosting the rest of the group on a rotating schedule. These Fridays mean mutual exchange—of everything from recent research to the nuances of office culture. This morning they arrived at a mildly postmodern conference room at Epping Forest District Council for tea and instant coffee. Semi-rural Epping sits at the northeastern end of London’s longest tube line, six public transit zones and a brisk walk from central London. Ione Braddick, a young architect who was selected as an associate in the first Public Practice cohort a few months ago, has taken that route here every morning since. “Much of the work comes down to persuading people that a local council thinking about design is even a good thing,” she told AN. This is also the main argument behind Public Practice. It works as a broker between organizations and people. On one end are local councils, planning authorities, transportation agencies, regional actors, and publicly owned development companies, and on the other are a new generation of designers looking to work in public planning. The first cohort of seventeen associates was picked and placed in new, strategic roles in April 2018. After a year, the hope is that they have gathered unique experiences, and also have built collective knowledge and networks between planning institutions. When Public Practice was founded around a year ago by Pooja Agrawal and Finn Williams, it was on a basis of a series of clear observations: Four decades ago, 49 percent of all architects in the U.K. worked in the public sector. Today, only 0.7 percent do. Since the financial crash in 2008, local budgets for planning and development have dwindled. Planning authorities are struggling to stay relevant counterparts to strictly commercial interests. Nearly half of them have no in-house design capacity at all. Epping Forest was one such authority, until Braddick was placed here as a pioneer for the yearlong program. Some of Braddick’s new Epping workmates have joined in around the table. Veneered walls and a lavender carpet frame the conference room window, which overlooks the far end of High Street, with a Tesco Superstore, a gas station, an Indian restaurant squeezed between coffee franchises, and a gothic revival church farther down. One block away, terraced-houses line private cul-de-sacs and at the horizon sit a dozen golf courses and a royal forest. Much of what is happening here since Braddick arrived is happening for the first time. “You realize one of the things we architects are worst at is explaining why design is important,” she said. Braddick used to work at a small architecture firm and enjoyed it. She led housing schemes from sketch to the construction site, instructed on the placement of bricks and the depth of mortar joints. But she found herself thinking: “Of all the things in architecture, buildings were maybe the one I was least interested in.” She was more drawn to the ways people use the city and its structures. At her new workplace in Epping Forest’s public sector, she leads the council’s new “Implementation Team,” negotiating and reviewing larger projects, which in Epping’s case means 50 units or more. Plans for the expansion of Harlow and Gilston Garden Town are now on her table. “It’s like jumping into an entirely new career. Not only, as with any new job, trying to learn to use the printers and who everyone is and what everyone’s name is. You’re also trying to learn about whole democratic processes, decision-making and get a strategic understanding of an area that you, quite often, don’t know very well.” Public Practice’s cofounders Agrawal and Williams, who share a background at reputable architecture schools and award-winning offices, themselves left the private sector to work for local authorities a few years ago. They would like to see more architects follow suit. And, more importantly, they have noticed that the British public sector struggles to attract—and maintain—the competence and knowledge that urban planning requires. They thought they would have to work very hard to get local councils on board, but they have already received more inquiries than they can handle from all over the country. To the planning and development industry, Public Practice offers a resource pool that the field could not otherwise reach and at a lower cost than the go-to temporary consultants. For the associates, the program offers a prestigious and hands-on role with a huge potential impact alongside a tight-knit community of like-minded colleagues. The Public Practice cohort meets regularly and spends a tenth of their time on common research and development. The project is supported financially by regional and national actors, private as well as public. That the associates are placed in a wide spectrum of contexts, from Epping to the City of London and everything in between, is part of the idea. It is also a precondition for the exchange that everyone can visit each other without spending half a day traveling. Public Practice is looking to branch off to other regions with enough critical mass but, for the first cohort, London’s outer ring road is more or less the limit. For Ei-Lyn Chia, another associate in the cohort, the London metropolitan region is also as far as her design work stretches. She used to do strategic planning with a private firm working on schemes which, she points out, ended up on a shelf. “I wanted to get things done. That’s why I applied here,” she said. She is now getting used to the view from City Hall’s glass cocoon by the Thames. Her morning commute goes to Greater London Authority (GLA), run by Mayor Sadiq Khan. Braddick jokingly describes where Chia works as “the brain of London.” Chia agrees that the job deals with the city on a macro scale, but added: “Local councils are the real experts, who really understand local conditions. But ideas have to be carried through policy level and political decisions and Braddick fills in, urging for design skills to be present at every stage of planning, also, when projects are proposed, procured, reviewed, executed. That is not the case today.” Along with two other Public Practice associates, Chia spends her research days exploring how industrial intensification can coexist with things like offices and housing. “Since the topics you work within the public sector are so multifaceted, it allows you to reach out to people in different disciplines, without it being weird,” she said, adding, “We’re allowing conversations to happen between people who wouldn’t otherwise have spoken to each other.” That also applies to dialogues within, and between, the public sector’s different actors. One of the advantages of Public Practice, they have realized, is that seventeen people from different authorities regularly get together in the same room. It is a rare thing. Most of the roles in which the associates have been placed are also positioned in between two different departments of an organization—which is intentional, said Chia. “With one foot in each door, that person, in effect, allows teams to transfer information in new ways. Most of the associates have an architecture background and are at the start of their careers, with a stray example of one with 25 years of experience in local planning. Some have expertise in strategic planning, others in digital infrastructure or placemaking and public relations. What they all have in common is that they were drawn to the Public Practice model and, in tough competition with ten times as many applicants, have been placed where they can contribute the most during a year. In a similar way, the organizations they now work for also applied to be part of the network. It is not a matter of just filling vacancies. Epping Forest and the GLA both had to present a case for a new role that they saw a strategic need for and were willing to offer resources for. On an intense day last spring, two hundred applicant architects and almost forty aspiring partner organizations gathered for workshops, talks, and interviews. According to Agrawal and Williams, it is this rigorous selection and matching process that is the key to the initiative actually working. Almost all 32 London municipalities say they need more urban design and planning expertise on the payroll, but have difficulties recruiting them. That is the gap that Public Practice is aiming to address. And what they are looking for in the applications, apart from talent and training, is humility, and the capacity to listen and to learn. “Attention: All testing and engineering work on the fire alarm system is now complete. We apologize for any inconvenience caused.” “I’m hoping to stay,” Braddick said, knowing what she would like to get out of her one-year placement. To see what she can contribute takes more than twelve months. And she hopes Epping Forest District Council sees the value in making a role like hers permanent. People around her are already talking about how things are designed, not just about parking quotas, profitability, and unit ratios. “‘Does it have a sense of place?’ people would ask, out of habit,” she said. “Well yeah, somewhere really shit can have a sense of place—but we want it to be a good place, don’t we?” Already trying to define what “good” is, is a successful start, she argues, and worth the effort. Two weeks later, someone else will have the group visiting them at their workplace. The participants say it is thanks to the Friday meet-ups with their Public Practice colleagues that they had a smooth transition to a new working environment. When they see each other, they exchange new knowledge and concrete tips, but also share their experiences open heartedly. “Sometimes it’s all about leaning against someone and going, ‘Ah, what a week…I need a drink!’” Braddick and Chia said, “and the next time, it’s, ‘Something happened—it’s amazing!’” A new cohort of Public Practice Associates will be starting placements in April 2019 in London, the South East, and the East of England. In the near future, the model is set to be expanded to other UK regions—perhaps also abroad. This is a translation of an article previously published in Arkitekten, the news magazine of Architects Sweden.
Brought to you with support fromIn October 2018 SHoP Architects completed the first tower of the Essex Crossing mega-development. Located in Manhattan's Lower East Side, the 14-story mixed-use property is clad with anodized aluminum curtainwall modules. Essex Crossing is a sprawling 6-acre mixed-used development project master planned by SHoP. The site has largely lain dormant since the 1967 demolition of the working-class tenements located at the base of the Williamsburg Bridge. In total, the project will deliver approximately two million square feet of development. The podium of 242 Broome is primarily reserved for retail use, with large curtain wall modules and window widths to facilitate greater daylighting. To increase sidewalk width in front of the tower, the modules of the first five stories taper toward the building's base, each floor overhanging the one beneath by nearly one and a half feet. In a bid to blend with the preexisting massing of the neighborhood, the summit of the podium roughly meets the cornice line of surrounding classically-designed tenements.
There have been a number of projects to digitize culture as of late. More and more museums are putting their collections online, and there are, of course, the many projects of Google Arts & Culture, including the company's recent experiments 3-D printing historic sites. Now, all of the United Kingdom's publicly-owned sculptures that have been made in the past millennium—some 150,000 of them—are going online. Art UK, which has previously worked to get oil paintings documented and accessible online, estimates that most of the country’s sculptures have not been previously photographed, at least in any systematic way, and that only around one percent of the country's public collections can currently be found online. With nearly £4 million in funding secured, the nonprofit's new project brings to light the many sculptures that stay tucked away in storage, as so many works are, exposing them to people across the world through a web platform. The nonprofit's staff, joined by photographers and volunteers, will be traveling across the U.K. to document sculptures from around the world, though they will only focus on those that were made over the past thousand years and are in the U.K.'s public collections or in significant private partner collections, such as those at Oxford and Cambridge. The documentation acts as a critical intervention in preserving and protecting cultural heritage, especially considering that the majority of these works are located outside and are subject to the elements and vandalism. To help organize all these works and all this information, Art UK invites users to join its Tagger platform, which was created along with Citizens Science Alliance, a group based in the astrophysics department at the University of Oxford, and with staff from the art history department at the University of Glasgow, to allow volunteers to help organize, describe, and make searchable hundreds of thousands of artworks. Part of Art UK’s mission is to show as much of the national art collection as possible, an objective that doesn’t end with the online index. Alongside the digitizing project, Art UK is embarking on various engagement projects, including “60 sculpture-related films” being created “with and by young people.” The nonprofit will also be taking 125 sculptures into schools. You can now view the first 1,000 cataloged sculptures, including everything from outdoor modernist works by Henry Moore, a dollhouse by Yinka Shonibare, 19th-century buddhas, 15th-century bishops, and a wide array of public architectural fixtures.
Staying in the Loop
Space p11 adds to Chicago’s underground art and architecture scene
“The pedway is an exquisite corpse,” said Space p11 director Jonathan Solomon of the assembly of underground spaces that make up Chicago’s Pedway, the subterranean home of the new design and architecture-focused gallery. “We are looking to encourage the many institutions above to take ownership and make the pedway a space for culture.” That notion of ownership, or perceived lack thereof, along with substandard signage, uneven maintenance and concentration of urban odors causes many Chicagoans to shame the pedway. Space p11 (‘p’ for Pedway, ‘space 11’ on the leasing plan) offers an emollient in the form of a formerly anonymous space filled with work dedicated to shared agency. This commitment to shared agency brought a series of actions to the Pedway coinciding with the debut of Space p11, which Solomon directs alongside David L. Hayes. The Chicago Loop Alliance partnered with artists to work in and with the Pedway through a series of pop-up experiences, dubbed Short-Cuts, activating elements like walls and abandoned phone booths with performance, drawing, and audio installations. Space p11 opened on December 3 with Phytovision by Lindsey French, an experiment in the hierarchy of perception between humans and plants. Within Space p11, French created a space full of vegetative (not creature) comforts, including a digital video slowed to plant time and shown to a plant audience. The plants watch underneath lights in their preferred colors, red and blue, which combine to flush the gallery in magenta. “People actually think it’s a weed shop,” joked Solomon. The Chicago Pedway is a five-mile network of formal and informal underground pedestrian routes connecting forty city blocks and almost fifty buildings in the Loop. Included are both public and private along with the occasional building lobby and basement. In addition to Space p11, the Pedway houses a mix of services and amenities, including salons, dry cleaners, and a number of idiosyncratic underground bars and restaurants. The Pedway began in 1951 as a tunnel connecting the State Street Subway to the Milwaukee-Dearborn Subway, joining together what are now the Red and Blue lines of the Chicago Transit Authority (CTA) system. Subsequent phases occurred in 1966, connecting the Civic Center to the Brunswick Building at 69 West Washington, through the late 1980s, and in 2005, when Millennium Station was completed. An additional extension was created in 2010 to connect the portion north of Lake Street to Aqua Tower, located at 225 North Columbus Drive. While the City of Chicago manages and cleans general areas of the Pedway, it is not responsible for privately owned sections, or those managed by the CTA. The system is not tended evenly, and signage does not remain consistent, confusing infrequent users and discouraging its use altogether for some. Those looking for consistency in the architecture of the Pedway are hard pressed to do so. While the Pedway portion of an individual building often captures what’s going on above, it doesn’t often give it sublime qualities. While there is terrazzo and marble, there are also portions of the system with as much personality as a jet bridge. Like the city above, the Pedway is not perfect. Space p11 is a project of Acute Angles, Inc., the publishers of the design journal Forty-Five. The gallery is designed by Future Firm, which has subtly improved the space by adding materiality to existing elements, along with lifting the language of retail through window framing and customary signage. “p11” is scripted in neon tube above a felted black letterboard announcing the bill of fare. A custom steel sandwich board in white and chrome auto paint is displayed outside the gallery during open hours. Through March 5, Space p11 presents Coalescence, a video installation by Rosemary Hall and Alberto Ortega that seeks to stretch our engagement with the biological and social world. Space p11 55 E. Randolph Street Pedway Level Chicago Chicago, Illinois
Spanish firm luis vidal + architects (LVA) has partnered with Gensler to design an addition to the Pittsburgh International Airport in western Pennsylvania. Initial renderings released Wednesday of the $1.1 billion project showcase the new terminal set to open in 2023. According to the architects, the design combines nature, technology, and community (a philosophy branded by the airport as NaTeCo) as a nod to Pittsburgh’s location, its local residents, and their commitment to innovation. The design team studied the city’s landscape to come up with a vision that evokes its iconic rolling hills and the rivers that run through it. The new terminal, built between Concourses C and D, will feature an undulating roof, designed to bring pockets of light into the public spaces below. Warm timber and ample plantings will be used throughout the interior as a nod to the region’s natural surroundings. “The combination of nature, technology, and community form the DNA of the region,” said Luis Vidal, “and that should be reflected in the structure of the building to enhance the experience for all users and leave a memorable impression.” In an interview with the airport’s news service, Blue Sky PIT, Vidal noted his initial trips to the city helped him understand how these physical elements could be integrated to create an adaptable design for the 21st-century that was truly Pittsburgh-centric. “When you look at Pittsburgh, you can see it has a very strong heritage and that it has undergone a huge transformation to embrace a diversification of industries, including medicine, education, technology, and robotics,” he said. “Those elements of nature, technology, and community grabbed me during a number of visits and very quickly, I understood that it was the DNA of the region.” Vidal and Gensler’s concept centers around a new, 51-gate terminal that will include a modern check-in concourse, an expanded TSA checkpoint, as well as indoor and outdoor green plazas and gathering spaces. The design will help improve wayfinding and circulation from the departing and arrival zones, while also decreasing walking distances between those areas. HDR, an engineering consultancy based out of Omaha, Nebraska, will help plan for future technological advancements within the airport and seek room for new automated systems. Gensler’s Principal and Aviation Leader Ty Osbaugh said the first set of renderings are the result of a huge community engagement process, which will continue through the schematic design phase. “We have worked very hard, and will continue working to further refine this concept that draws on the best features of the region,” Osbaugh said. “This concept allows for a more modern, adaptable facility that will truly reflect and belong to Pittsburgh.” This isn’t the first major upgrade the Pittsburgh International Aiport has received. In 1992, a billion-dollar expansion by architect Tasso Katselas Associates received widespread praise, particularly for the addition of the airport’s then-new Airside Terminal. The large space featured an arched ceiling and ample room dedicated to a shopping district known as the Airmall. That design helped simplify aircraft movement and eased pedestrian traffic, later becoming a global model for efficient aviation architecture. LVA and Gensler hope to build on the Airside Terminal’s legacy by building a modern structure that consolidates the airport’s landside and airside operations into one place. The project, with its sweeping design and light-filled interior, evokes Vidal’s award-winning 2014 design of Terminal 2 at London’s Heathrow Airport.
Kumbaya My Light
Lambert & Fils launches its new Corridor gallery space in Montreal
Young Montreal lighting brand Lambert & Fils has gained recognition in the past few years with a series of blockbuster lighting collections that have broken away from the norms that have stagnated the lighting industry in the past few years. Notable designs include the airport-inspired Dorval series, developed with French studio SCMP. The boutique design house has also developed a series of lauded private and retail interiors. Building on this success, Lambert & Fils has just opened a new exhibition annex adjacent to its office and workshop. Located in the heart of Montreal, Corridor promises to become a new space for cultural exchange. The gallery will feature art and design, and will explore where these often-siloed disciplines intersect. To launch the new space, Lambert & Fils tapped Swiss designer Adrien Rovero to create a special, temporary installation. The Feu de Camp mise-en-scene draws inspiration from Rovero's short time in the boy scouts but also from Montreal’s long and cold winters. The installation incorporates various geometric forms, flashlight-inspired fixtures, and simple industrial materials—green tubes, elastics, electrical wires, and semi-spherical glass diffusers—loosely in the form of a campfire as a way to bring people together during the dreary late-winter season. The installation is arranged around a central node with 12 low-lying lamps surrounding in a circle. These elements were used sparingly to compose a playful yet technically-refined setup, and Rovero also created a wall mural that illustrates this peculiar typology in his unique assemblage-inspired aesthetic. Though this inaugural installation closes tomorrow, Corridor will open the new Studio Edition exhibition—a group show featuring work by emerging Canadian designers—in the coming months.
Detroit’s House of Pure Vin lets visitors wine in style
1433 Woodward Avenue Detroit, 48226 (313) 638-2501 M1/DTW House of Pure Vin is a minority-owned wine shop in downtown Detroit contributing to the revival of the city’s historic Woodward Avenue. Architect Christian Unverzagt from M1/DTW helped transform the 3,000-square-foot space into a sophisticated wine tasting shop and tourist attraction. Unverzagt converted a twisted and irregular retail space into a series of smaller rooms—including a climate-controlled champagne room, recessed retail nook, and tasting room—to provide a sense of visual clarity and allow the space to slowly unfold to reveal new activities to visitors. The shop holds over 4,000 bottles of wine, displaying the majority of them within a wall of cardboard tubes typically used for manufacturing. The tubes serve as wine racks, an eye-catching way to store the bottles sideways and shield them from light. Cork is used for various surfaces within the shop, including the walls and cash wrap, acting as a warm contrast to the black steel and industrial materials elsewhere in the store.