Search results for "Rafael Viñoly"
An architect combines restaurant and residential know-how to design chef Daniel Boulud's home kitchen
Essentially, this building is the architectural embodiment of sea sickness, waves of nausea frozen in sheaths of glass and colored aluminum that, when stared at for too long, summon queasiness, discomfort and, if you’re really unlucky, a reappearance of lunch as inevitably as puddles after a rainstorm.Incidentally, the much-maligned flats in question range from $1 million to $1.2 million. The developers behind the project, Galliard Homes, describe it as a "striking new landmark against Canary Wharf’s dazzling architecture." They go on to add: "Offering breathtaking views, first class facilities, and superlative living accommodation in a location of international status, Lincoln Plaza is set to provide one of the most prestigious and sophisticated new landmarks on Canary Wharf’s iconic skyline." Ijeh, though, was not impressed with this description.
Were anyone in any doubt as to the sheer level delusion and gall that has gripped London’s luxury housing market, then this asinine quotation should settle the matter once and for all. Lincoln Plaza is actually in South Quay and not Canary Wharf but what better way of showing contempt for your local context than by insinuating it is actually located in your flashier neighboring district that is more likely to be familiar to your target Malaysian investors? But, of course, this development does not show contextual contempt by words but by actions and it is these architectural actions and not the aforementioned “views” that are truly “breath-taking.” Lincoln Plaza is a putrid, pugilistic horror show that should never have been built. In its bilious cladding, chaotic form, adhesive balconies and frenzied facades, it exhibits the absolute worst in shambolic architectural design and cheap visual gimmickry. The only thing “sophisticated” about this scheme is the sheer level of artistry that must have been orchestrated in order to convince the local authority to award permission.Paul Finch, editorial director of the Architects' Journal—a rival to the publication that runs the not-so-coveted trophy—called for the competition to be ended last month. He also wrongly predicted, as did many, that:
Those who control the [Carbuncle Cup] seem to know next to nothing about commercial architecture, hate it, campaign against it and only keep quiet when a self-evidently ‘good’ architect, like Eric Parry, wins a commission to design the tallest tower in the City of London, demolishing the rather good [Aviva] tower in the process. The predictable tone of the [Carbuncle Cup] nominations is echoed by the predictability of the results. The judges don’t get out much, so the focus is generally on London. If you can attack a big name, all the better, hence the ludicrous abuse poured on the Cutty Sark project by Grimshaw. Commercial uses are a red rag to a bull, hence the campaign against another ‘winner’, the Tesco store with apartments above at Woolwich, a brave and successful attempt to revive a benighted town centre, which I supported while sitting on the design review panel which assessed the plan... My real objection to the [Cup] is that it is the product of mental idleness rather than genuine thought about the way in which architecture both absorbs and reflects culture, economics, fashion and the myriad other elements which inform the way we now live, work and play.Catherine Slessor, also writing in the same publication, however, made the case for the Carbuncle Cup:
Some might regard it as a cheap exercise in tabloid trolling that takes no account of the complexities and contradictions of the design process, in which architects are merely hapless pawns, buffeted by bad clients, bad briefs and bad legislation. Yet who could argue against the guilty pleasure of witnessing the pomposity of the great and the good being pricked or the hubris of provincial nonentities witheringly exposed? After all, these purveyors of ordure are paid for what they do. And, unlike genuine ordure, bad buildings cannot be swept away.
Saffron Square Location: Croydon, London Architect: Rolfe Judd First on the "to-roast" list is Saffron Square (otherwise known as Saffron Tower) in Croydon, south London. Though Croydon currently holds the crown as having U.K.'s fastest growing local economy, the news surrounding its architecture scene has not been so positive. Developer Berkeley Homes’s offering, whose colorfully-clad tower can be seen from many-a-mile, has been described as having a “car crash of a facade.”
The Diamond Sheffield Twelve Architects This building in Yorkshire may provide accommodation for engineering students at the University of Sheffield, however, it is apparently “dwarfing” and “drowning” is neighboring church with its interior being “wasted,” “unused,” and “outrageously mismanaged.”
One Smithfield Stoke-on-Trent RHWL Architects "An aesthetic mutation between the nostalgic 1980s brain games of Connect 4 and Blockbusters might not seem like a natural breeding ground for architectural malevolence but this building proves what happens when color goes rogue," wrote BD in a scathing analysis of the multi-colored structure. Poole Methodist Church extension Poole, Dorset Intelligent Design Centre Churches have not faired well according to this year's iteration of the Carbuncle Cup. This extension to the existing gothic church has been derided as a building that "screams of the same bland, belligerent mediocrity that is the insidious moniker of ostensibly polite and ubiquitous background architecture everywhere."Beautiful day for a skate, this spot in Hanley is awesome!! #spotcheck #skate #metrogrammed #summerishere A photo posted by Will Lowe (@wimpstain) on
5 Broadgate London Make Architects Make Architects's 5 Broadgate is one of three buildings from London (last year had four) and the largest on the list. Such is the scorn that the structure has received that developers of the nearby 22 Bishopsgate project called 5 Broadgate the "worst large building in the City for 20 years." Ominously, last year's biggest building happened to be 20 Fenchurch Street (The Walkie-Talkie), the eventual winner.
New towers at Canary Wharf #1. Lincoln Plaza. #skyscraper #photography #London pic.twitter.com/pDQGNGxtbX — Skyscrapernews.com (@skyscrapernews) July 5, 2016Lincoln Plaza London BUJ Architects Last on the ill-fated architectural honors list is Lincoln Plaza. "31 stories of bilious cladding are piled one on top of the other to create an assortment of haphazardly assembled facades that are crude, jarring and shambolic," wrote BD in an unforgiving critique of the high-rise. And that wasn't all. "Were that not enough, the facades enwrap a grotesque Jenga game of rabid rectilinear blocks of no discernible form or profile and perforated by a series of balconies which one reader surmises “are an open invitation to commit suicide."
The winner of the Carbuncle Cup will be announced next Wednesday.
The University of Chicago has begun work on a two-story addition to its Laboratory for Astrophysics and Space Research (LASR). Designed by the Chicago office of Perkins Eastman, the addition will update and expand the original 1964 SOM-designed modernist single story building.The main goal of the new addition will be to bring the building up to current standards of physics research, and to house both the Theoretical and Experimental research groups in one building. The LASR will also house the University of Chicago’s acclaimed Department of Physics, including the Enrico Fermi Institute and the Kadanoff Center for Theoretical Physics. When finished, the 63,500-square-foot building will include day-lit offices and collaboration spaces, and two large gathering spaces. One of these spaces will cantilever over the existing building's footprint in order to accommodate larger groups. Expansive picture windows in the gathering spaces allow for views across the architecturally rich campus. A bright double-height commons and roof terrace will also provide spaces for less formal gatherings. Laboratories that are light-sensitive will be located below grade, and to the interior of the building. With a goal of LEED Silver, the building’s facade is calibrated to reduce the need for artificial light, while avoiding excessive solar heat gain. Heating and cooling will be handled by overhead chilled beams instead of forced air. Perkins Eastman joins a handful of architects currently working for the university including Studio Gang, Johnston Marklee, and HOK. The University of Chicago campus is a veritable theme park of architecture with projects by Frank Lloyd Wright, Henry Ives Cobb, Eero Saarinen, Ludwig Mies van der Rohe, Walter Netsch, Ricardo Legorreta, Rafael Viñoly, César Pelli, Helmut Jahn, Tod Williams and Billie Tsien Architects, and Holabird, Root and Burgee.
Total Basket Base
New renderings revealed for CetraRuddy's basket-inspired Manhattan tower
Like many universities situated in the heart of their communities, Princeton is grappling with the enormous challenge of growing its campus to accommodate new and expanded programs. Some of the strategies to expand include selective densification of the core and the renewal and repurposing of existing facilities. But longer range, the university will have few options but to expand at the periphery. While densification risks upsetting the delicate balance between buildings and open space that defines Princeton’s campus and grants it a majestic beauty, the ability to craft large swaths of land in the image of itself is also a welcome opportunity.
Recent examples include the new sciences neighborhood at the campus’s southern border, where new buildings by Hopkins Architects and Rafael Moneo join a genomics facility by Rafael Viñoly, and an expanded engineering precinct at the campus’s eastern side, which just welcomed the new Andlinger Center for Energy and the Environment by Tod Williams Billie Tsien.
Located on a 23-acre site at the campus’s western edge, the arts and transit neighborhood is an exercise in forging a more engaged relationship between the university and town with new arts facilities, a transit hall and rail station, and various eateries, including a Wawa. Planning the precinct was tasked to Beyer Blinder Belle Architects and Michael Van Valkenburgh, who were working with the university at the time on a ten-year plan to guide campus growth through 2016. Scheduled to be complete in 2017, the $300 million project is the largest expansion project in the university’s 265 year history.
The new facilities inscribe themselves into the fabric of the campus by integrating the language of the neighborhood and surrounding courtyards in their form, scale, and materials. Steven Holl’s Lewis Center for the Arts anchors the precinct and creates a new campus gateway. It provides performance and teaching spaces for the theater and dance program, the department of music, and the arts in three buildings organized around a three-sided courtyard that opens to the community.
In the center of the courtyard a shallow pool defines a main public space. The buildings’ Italian limestone exteriors reference the early stones and bluestone paving used elsewhere on campus. The arts tower is scaled to Blair Arch. Rick Joy’s transit hub creates a chapel-like space that is washed in natural light. One of Joy’s big place-making gestures was putting the transit hall and the Wawa in two separate buildings to shape a new public space. “We had a program for it and the Wawa but we never conceived of splitting it apart,” said university architect Ron McCoy.
In addition to new facilities, the university is bringing in new infrastructure—reworking roads, creating plazas and circulation routes for pedestrians and cyclists, and providing for parking.
Dubbed “1000M” for its 1000 South Michigan Avenue address, New York developers Time Equities (who also partnered with Jahn on a New York City tower bearing close resemblance) and JK Equities lopped nearly 200 feet off the plan, bringing the height to 832 feet with 73 stories. It conforms to new height guidelines that govern the south portion of the Historic Michigan Boulevard District, which runs from Randolph Street to 11th Street, and assuages residents’ concerns over the appropriateness of dropping a supertall on an iconic streetwall. The amendment from the Commission on Chicago Landmarks allows for new towers up to 900 feet on Michigan and Wabash Avenues between 8th and 11th Streets.In the process, a staggered stacked cube concept was scrapped, replaced by sinuous curves and triangular planes. Project text attributes the “hard sloping north edge, the soft and natural southeast corner, and curved east and west faces” to the textures of city, lake, and park, respectively. A decidedly rectangular base transitions to parallelogram from the 24 through 72 floors, allowing the tower’s top-heavy dimensions to develop slowly and gracefully. An enclosed omni-directional top houses mechanicals and a 5,300-square-foot roof terrace. Among Chicago’s tallest towers, Jahn said at the community presentation, this “is the only building to get bigger toward the top." The shift from rectilinear base to more curvaceous top also delineates the change from apartments to condos in the tower. One hundred and forty rental units would fill the base, providing an aesthetic screen for ten floors of parking. An amenity level divides these lower rental units from the 366 condos planned for the upper floors, while external load bearing “super columns” also signal this break on the tower’s facade. Architecture critic Blair Kamin noted in the Chicago Tribune that the historic district’s tallest structure is the 430-foot-tall Metropolitan Tower several blocks north. Immediate Michigan Avenue neighbors are 100- and 272-feet-tall, the shorter of which was acquired by the developers. Clearly, the pose struck by Jahn’s tower will be instrumental to its contextual success or failure. To that end, the tower’s shape is derived largely from its relationship to adjoining buildings. The taller north neighbor’s setback is matched and a 20-foot gap exceeds the 12 feet required by code, preserving greater sunlight and airflow for that building’s south-facing tenants. A sloping 17-foot outcrop hovers over the southern neighbor, in a way cradling it (the outcropping and expansion of floor plates also helps with the economics of a shortened proposal). In material terms, a metal facade system transitions to a greater ratio of glass once the tower clears its neighbors. Community reaction to the new concept has been overwhelmingly positive, but a lingering concern is whether equal care will be given to the less prominent west facade. Relative stature may be diminished, but Jahn’s redesign still sets out to create a visual counterpoint to the wall of skyscrapers rounding Michigan onto Randolph. Together with Rafael Viñoly’s twin 76-story tower designs at Michigan Avenue and Roosevelt Road and Hartshorne Plunkard Architecture’s rendering of a 585-foot-tall apartment building two blocks north of 1000M, a bolder definition of Grant Park’s south rim is on the way. Developers hope to break ground in 12 to 15 months.