Search results for "morphosis"
The second question I wanted to ask you is about style. President Camacho from Idiocracy [who Terry Crews plays in the film] is by far the greatest president in cinematic history. You have a certain presence. That dancing is iconic in film history at this point. There’s a certain sensibility or personality with you. There’s this kind of charisma around you, which translates a lot of times into style. You’ve already designed your own house. You’ve also done these paintings. The question is, what can we expect to see in terms of your work? What can we expect to see in terms of your design as far as style goes? You know, it’s weird. That’s a great question because I, for one, feel like some people get things mixed up with flash and shock and then they call it style. I’ve seen it in entertainment where jokes become insulting as opposed to informative and insightful. I’ve seen even design itself get very cynical, which is something you really have to watch because as an artist I don’t want to offend, but I always want to be bold. Bold is the most important trait that I have and the good thing is that bold has nothing to do with personality. I’ve seen people who were very meek, very withdrawn or even sanguine or melancholy, but they were extremely bold. My wife is my best confidant because I put stuff out there. I always run everything by her first. I want to make sure that I differentiate the loudness and craziness and shock jock kind of thing from actual boldness. To me, when you say bold, I’m thinking full throttle and focused. Oh, that sounds good. I’m stealing that. You know what? You just summed it all up right there. Full throttle, focused, that’s me. Yeah, but you’re right. When you see somebody that’s literally obsessed and they’re so focused and it gets better and better and better and better, over the whole incarnation, you go, holy cow … I’ve watched other people do that, and like I said, it’s not about being crazy and dancing around and putting lights on it and sparklers. It’s like, holy cow, look at that. I’m with you, man. Next, I want to ask about process. As a film actor, probably there’s a preparation process that’s unfamiliar to designers and I wonder how you might translate that into design. You know what? Because I made all the mistakes and art is art, be it acting, drawing, designing, architecture, it’s all art and fear is your enemy. It’s your enemy. For an actor, there’s a point where you spend years overcoming fear. I’ll tell you about my first job. I was working on a movie called The Sixth Day with Arnold Schwarzenegger, the first movie I ever did. My job was to come up on the steps of his home and tell Arnold, "Hey, Adam Gibson, you’re coming with us." And he looks at me and he says all this stuff. That’s how the scene’s supposed to go. Well, the scene started. I go in, I walk up to him and nothing comes out of my mouth. I was scared to death. Instantly, I was like, I don’t belong here. I’m a football player, I have no skills. I don’t know what this is, and I doubted everything about myself and in a split second, I mean it was like, brrrr! Magically, something went wrong with the camera, which was crazy, and they had to shut everything down and all that and they said, Terry, we’re going to take a break, something is wrong with the camera, we’re going to just take five minutes. Now, they didn’t notice that I suck, but that’s what happened and I went to the side and I said, Terry, what are you doing? And I remember feeling like, if you don’t do this, you’re never going to get this opportunity again. And I used that energy and I went back at them and I looked at Arnold and I’m like, "I’m here, sir and you’re coming with us." And he was like [imitating Arnold saying his lines] and I was like, “Oh my God.” And let me tell you something, I learned something that day – you have to trust yourself. I was even so stuck on this furniture, and then I came up with a story for it and all of a sudden it started making itself. I think you’re absolutely right. I get nervous, I worry about stuff. This is super therapeutic, actually. It is. I’ve been there with you, man. It’s a hard thing, but practice makes it easier. Let’s go to the next question, which is about transformation or metamorphosis. You’re a person who’s gone through this once. You went from being an NFL player to a film actor, and now you’re about to go through it again. And during our Terry Crews week, we stumbled on your Sesame Street episode … violinist, sculpture, mime. So, here, you’re about to undergo this metamorphosis once again. Are there things that you can take away from the first time that will teach you again? First of all, being a football player is a very limiting world. It’s very, very limiting. People already have so many preconceived notions of who you are because it’s almost like a cookie cutter. But you have to understand the football thing and the art thing has never been separate with me, ever. When I went to college, I would go to the little art classes with the people in black who were so sad and I was like, Hey you all, how are you all doing? I got my letterman jacket on, I was like, alright! And then I go right to practice after that and people … there were others that had issues. Now, I know I’m an artist. I know what I do. And then when Jerry Helling, the President of Bernhardt Design came to me and said, "I want to do something with you," and I’m like, "Cool, we can find a designer, we can… " He’s like, "No, no, no, no, no. I want you to design it—pivot time." It just went back to – we need you, we know you’re a linebacker, but we need you to play defensive end on this point. We know you do drama, but here’s comedy right here. I’m the riskiest guy ever. I try everything. They were like, we want you to host the "Who Wants to be a Millionaire." I was like, okay, and I didn’t know what I was doing. I mean, look at Regis and look at me. I got a 200-pound difference, me and Regis or any other host they have, Meredith Vieira. But I said, you know what? This is where all the action is and it’s funny because I’m thankful. By this practice of doing this, I’ve built a career where no one is shocked at what I’m doing. So, that’s a long answer to that question. These are deep questions. They’re so good. Beautiful answer. I really admire your courage. This takes so much courage. Words can’t really describe how thankful I am that you’re here and so glad to be sitting here with you and having this conversation. We’re really looking forward to your design. My pleasure, man. This is awesome. I love this world. I love this. Thank you, guys.
Home Sweet Apartment
The best of contemporary apartment design, minus the affordability question
For a psychiatric hospital built in the late 19th century, the Buffalo State Asylum for the Insane in Buffalo, New York, was remarkably ahead of its time. At the request of physician Thomas Story Kirkbride, who helmed the hospital’s design, emphasis was placed on access to natural light, fresh air, and pastoral views to benefit patient well-being. It was originally completed in 1880, combining Victorian and Romanesque elements.
Deborah Berke Partners (DBP) recently completed the asylum’s metamorphosis into the Hotel Henry Urban Resort and Conference Center. “The intentions for this building were about it being a welcoming and safe space,” said Stephen Brockman, senior principal of DBP. “The graciousness of the space is what’s fascinating. You open these doors, and it’s breathtaking,”
That said, converting the former asylum – located in the central portion of the sprawling National Historic Landmark Richardson Olmsted Campus – into a 191,000-square-foot luxury boutique hotel and conference center without losing its character was not without its challenges.
During early presentations of the project to the local community, conversations with the relatives of people who had spent time at the hospital and felt a close relationship with it created a desire “to make it feel like it was still theirs,” Brockman said. “Our interventions were subtle.”
The hotel and conference center houses 88 guest rooms, multiple conference facilities, a fine dining restaurant, a bar, and a cafe. Of the campus’s original 11 buildings, the hotel comprises three central buildings that were the asylum’s administrative hub and patient housing.
Along with the exterior, original interior elements, including windows, interior shutters, plasterwork, stairs, and tile and wood floors were preserved, while the grand staircase was restored. The spacious hallways, 200 feet long and 15 feet wide, were also kept intact. These corridors, which were originally called “day rooms” and functioned as the asylum’s social spaces, were flooded with ventilation and light to aid patient recovery.
“The grandeur of the building simply cried out to be a destination, so this is a perfect fit,” said Jean Carroon, principal at Goody Clancy, preservation architects for the project. “The exterior is rugged and beautiful. The interior has the high ceilings, natural daylight, and views, which were part of its first life.”
To transform the building into a modern hotel welcoming the 21st-century traveler, a flagstone-and-granite entry plaza was added. A new, second entrance, in glass and steel, glows at night, as do newly illuminated towers, lit internally to serve as beacons. A staircase created within the second entrance features an illuminated glass handrail and leads to the second-floor lobby. An attic was converted into large, loft-like guest suites with partially exposed beams and high, sloped ceilings. Guest rooms were updated in neutral tones and will feature works by local artists.
Landscape architecture and planning firm Andropogon Associates updated and restored the grounds, originally designed by Frederick Law Olmsted, adding a new roadway in Olmsted’s aesthetic, as well as guest parking. Andropogon also planted 125 new trees, interspersed with rain gardens of switchgrass, as well as grapevines and hawthorns.
It was important to pay homage to the hotel’s history as an asylum more prominently as well. To that end, Carroon noted, several patient rooms have been completely restored and will be part of the campus’s historic tours when the Lipsey Buffalo Architecture Center opens in late 2017 as a co-tenant with Hotel Henry. Celebrating Buffalo’s rich architectural history and honoring the site’s legacy, the center will feature a 400-square-foot interactive exhibit about the asylum and the history of mental health treatment in the U.S.
Back to School
Cornell Tech campus opens with three high-tech buildings
U.S. Department of State shortlists 26 firms to build embassies worldwide
A division of the U.S. Department of State in charge of constructing and maintaining embassies has selected more than two dozen architecture firms to design those facilities worldwide. Late last month, the Bureau of Overseas Buildings Operations (OBO) picked 26 firms for its Indefinite Delivery/Indefinite Quantity (IDIQ) Worldwide Design Services solicitation, a shortlist that's geographically diverse and includes a healthy mix of small-to-medium–sized firms (Marlon Blackwell, 1100 Architect, Lake|Flato) plus giants like Gensler and HOK.
Steven Holl's design for the Museum of Fine Arts, Houston (MFAH) has started construction. In 2015, Holl described the commission as "the most important" of his career.
Steven Holl Architects was awarded the job back in 2012, seeing off competition from Morphosis and Snøhetta, but working out the design has been a drawn-out experience. “What you see here is the culmination of a 36-month design process,” Holl said at a design unveiling two years ago. In addition to the 165,000-square-foot Nancy and Rich Kinder Building, and the Glassell School of Art, the architect also worked on the museum's master plan.
The 14-acre campus will also include the Sarah Campbell Blaffer Foundation Center for Conservation, designed by Lake|Flato Architects of San Antonio. The two-storey facility will sit above MFAH's existing parking garage and provide conservation labs and studios, and a street-level cafe. Holl's translucent Nancy and Rich Kinder Building, meanwhile, will see two floors of galleries circling a top-lit three-level atrium added along with a restaurant, theater, reflecting pools, vertical gardens, meeting rooms, and underground parking.
The building will have etched glass tubular cladding that will allow daylight to filter through and also give the building a soft glow come sunset. At ground level, six reflecting pools of water will amplify the luminous qualities of the structure's skin, which will also include seven vertical gardens. These will be cut into segments of vision glass instead of the translucent tubing. Inside, the two galleries will total 54,000 square feet. The upper level is to be shielded by a luminous canopy roof, which has concave curves inspired by Texas' billowing clouds. All of the gallery spaces feature natural light. Holl is working with New York–based lighting design firm L’Observatoire International on the project.Furthermore, Holl's new Glassell School of Art will connect with the water pools and connect the campus to The Brown Foundation, Inc. Plaza. All in all, MFAH's additions will come to $450 million. Construction is touted for completion in 2019.
Excellence in Design Awards
Bomb squad building, verdant library, and others score NYC design awards
NYCxDESIGN kicks off this week, and our first ever Tech+ Expo will be part of it. Check us out on May 23rd from 8:30 a.m. to 6:30 p.m. at 639 West 46th St. For more information visit techplusexpo.com.
A wave of new technologies is transforming the architecture, engineering, and construction industries. On May 23, The Architect’s Newspaper will host the first trade expo and forum to investigate this convergence: TECH+. Taking place during NYCxDesign month, New York’s official citywide celebration of design, the conference incorporates visionary speakers, engaging panels, live demos, and product displays from leaders in emerging fields like virtual reality, smart buildings, parametrics, advanced materials, drones and robotics, AEC Software, and mobile apps.
Architects, engineers, designers, builders, real-estate professionals, investors, entrepreneurs, software developers, students, and makers will converge at Metropolitan West in New York—the center of one of America’s fastest growing tech markets—to discover innovations, come across start-ups, meet top experts, and build connections. A conference addressing new architectural technologies is both needed and timely, spurring new ideas, cross-pollination, and innovation.
“We see TECH+ as the place where technology companies and the AEC industry converge,” said The Architect’s Newspaper publisher Diana Darling. “We want to share what’s happening and start pulling people together. These fields are developing quickly, and people are eager to build a community.”
Over the past six years, AN has hosted 26 events for Facades+, a series of conferences taking place in cities around the country focusing on the future of building envelopes. TECH+ will build on that series’ success by teaming up with Microsol Resources TechPerspectives conference to host a full day of inspired presentations on the Innovation Stage.
Presenters at TECH+ will include keynote speaker Hao Ko, a Gensler principal who helped mastermind the Nvidia headquarters building in Santa Clara, California, and the Mercedes-Benz headquarters building in Atlanta; Kerenza Harris, leader of Morphosis Architects’ advanced technology team; and leaders of innovative companies like Graphisoft, Humanscale, Kohn Pedersen Fox (KPF), FXFowle, Thornton Tomasetti, and more.
Panels will discuss, among other topics, start-up technology investment, workplace design, digital printing and fabrication, virtual-reality environments, and on-site drone footage. More than a dozen exhibitors hail from around the AEC industry, in fields like BIM (building information modeling) software, virtual reality (VR), 3-D printing, engineering, and computer graphics. The conference will also showcase know-how from some of the city’s top tech incubators and research from cutting-edge technology programs at design schools like Columbia GSAPP, Parsons, MIT DesignX, and Pratt.
“TECH+ is a new type of conference,” said Darling. “We’re focusing on completely new ideas and techniques, and gauging where the future of the AEC will be and how we get there.”