Search results for "sustainability"

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The Unbearable Lightness of Being Kanye

Kanye West donates $10 million to James Turrell’s volcanic crater project
Artist James Turrell has been taking advantage of the natural landscape of the Roden Crater in Arizona’s Painted Desert since 1977. The unfettered sight lines and isolated desert landscape are perfect for Turrell’s work, and the artist calls Roden Crater “a controlled environment for the experiencing and contemplation of light.” Now Turrell’s long-term, still-under-construction arts center has found a celebrity backer; yesterday, the Wall Street Journal broke the news that Kanye West had donated $10 million. Funding for what Turrell hopes will eventually become an arts campus has been sporadic. While several of the spaces have already been built, only $40 million of the required $200 million had been fundraised before Kanye’s commitment. Once complete, Roden Crater will include an amphitheater, additional rooms, and will host a residency program. Inside the two-and-a-half-mile-wide crater, Turrell has carved a network of temple-like rooms and tunnels that are exposed to the sky, creating vantage points that change based on the weather and time of day. West traveled to Roden Crater on December 11, 2018, and again the next week, tweeting that his tour had been a life-changing experience and that “We all will live in Turrell spaces.” He followed that up with a later visit to the Massachusetts Museum of Contemporary Art to visit Turrell’s Into the Light exhibition on December 27. On Monday, the rapper-turned-designer released a statement explaining that he wants Roden Crater to be “experienced and enjoyed for eternity.” The gift stands out among West’s philanthropic work, as he thus far hasn’t made similar contributions to any other artistic institutions. Still, this isn’t the first time that Turrell’s work has infatuated a rapper; Drake danced his way through homages to the artist’s light installations in the 2015 video for Hotline Bling. Turrell is attempting to fundraise the rest of the $200 million in conjunction with Arizona State University. According to Artforum, that money will go towards keeping the site open for the next five years, and the school hopes to eventually integrate Roden Crater with the curriculum of the “Herberger Institute for Design and the Arts, School of Sustainability, School of Earth and Space Exploration, and School of Social Transformation.”
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Stacked for Success

Renzo Piano completes offices for Kum & Go in Des Moines, Iowa
Renzo Piano Building Workshop has officially completed the much-anticipated Krause Gateway Center in downtown Des Moines, Iowa. As the new headquarters for Midwestern convenience store chain Kum & Go, the six-story building features an open and transparent design that resembles a glass pagoda.  RPBW designed the 160,000-square-foot structure in collaboration with Iowa-based firm OPN Architects. Construction wrapped up late last year on the project site, situated on the north end of the city’s famous Pappajohn Sculpture Park. Thanks to its floor-to-ceiling glass facade, the Krause Gateway Center provides 360-degree views of the city and the art garden below, while housing offices for 800 Kum & Go and Krause Group employees. It also includes a two-story underground parking garage, a fitness center, large meeting rooms, and a dedicated art space. The focal point of the modern design is its sun-soaked interior lobby, created with a warm and welcoming atmosphere for visitors and workers alike. Sustainability, accessibility, and engagement with art are key elements of the Krause Gateway Center's overall design. The curtain wall exterior allows ample daylight into the office space while the elongated overhangs that divide the floors shade the interior and control temperature. An outdoor terrace and a green roof populated with sculptures offer breathing spaces for employees to access during the day. In addition to the unique, people-centric design, the building takes up just 25 percent of the project site, where over 100 trees and various landscape furniture dot the landscape for further public use. In the near future, RPBW will build out a café for the building’s Grand Avenue lobby entrance along with exterior seating.
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(Mass)ive Growth

The U.S. mass timber industry is maturing while it branches out

This article originally appeared as part of our January 2019 print issue in the timber feature.

President Donald Trump’s tariffs, enacted in November 2017, have not yet made a significant impact on the U.S. mass timber industry. But if Trump chooses to take more aggressive action in the next two years of his administration, this could dramatically change. This urgency, coupled with the recent global obsession with building tall wood structures, newly motivates American wood manufacturers to become independent of foreign suppliers. This would entail American manufacturers catching up in machine technology and production capacity to bolster domestic trade and support innovative architecture sourced from home.

What’s clear is that U.S. demand for wood buildings is there. The country’s largest producer of cross-laminated timber (CLT), SmartLam, has experienced such rapid growth since opening six years ago that it is building a new headquarters in Columbia Falls, Montana, and planning a second facility in Maine to supply what the industry thinks will be an influx of midrise construction in New York and other cities along the Eastern seaboard.

“The expansion here is simply driven by need,” said SmartLam CEO Casey Malmquist. “There’s always been a grassroots support for CLT in the U.S. and a recently increased interest in research and testing. But now we’re no longer speculating about whether it will work—it’s going mainstream.”

While similar Pacific Northwest companies like DR Johnson and Katerra, as well as firms such as LEVER Architecture and Michael Green Architecture, have long led the field, production is growing in uncharted territories. South Carolina–based LignaTerra is adding another plant in Maine, while Canadian leaders like Nordic Structures in Montreal and Structure Fusion in Québec City, which already supplied CLT to projects across the country, are now focusing more attention on supplying the eastern U.S. market. Production is even swelling in the South with Texas CLT LLC, which is reopening a mill in southwest Arkansas.

But pioneering European companies, which have historically dominated the market and supplied American developers, are now putting down roots in the U.S. Austrian giant KLH is partnering with International Beams’ new factory in Dothan, Alabama, by supplying it with glulam blanks. Having opened this past September, it is the first plant east of the Rocky Mountains to produce CLT in the country and will primarily utilize the unique Southern Yellow Pine native to the region.

These investments show that the race to build such production facilities is vital to the U.S. market becoming competitive with other countries. But many experts say we need to increase cultural acceptance of mass timber as well as get investors on board before the industry starts churning up a sizable profit.

“The real strategy is that the big manufacturers in Europe are focused on making franchises here,” said Alan Organschi, principal of Gray Organschi Architecture in New Haven, Connecticut. “They can produce higher quality products cheaper, even with overseas shipping, than manufacturers can in the U.S. and Canada.”

Organschi’s firm has been at the forefront of timber innovation for 20 years. He is confident the market is growing and will prove that by designing 6- to 14-story buildings, the sweet spot for mass timber construction. Dominique Briand, general manager of Canadian structural engineering firm Structure Fusion, is also optimistic about North America’s future, but feels certain that product-specific issues still need to be addressed before wood can match the quality of other structural materials like steel and concrete.

“The problem is the tools are not there,” Briand said. “There’s not enough manpower or knowledge to make or sell mass timber in the United States. Plus it’s a disorganized market, which creates a big gap between the product and the project.”

Briand believes that as long as timber is trendy, it will take young U.S.-based companies about five to ten more years to be competitive with Europe. In the meantime, architects, engineers, and educators are working to imagine groundbreaking designs at modest scales to ramp up domestic interest and encourage policy changes.

Many U.S. states are using financial incentives to entice manufacturers to locate to their respective regions. In Maine, both the state and federal governments have provided funding for the University of Maine’s extensive research to advance timber assemblies. Russell Edgar of the university’s Advanced Structures & Composites Center says the ultimate goal of this work is to organize the state’s supply chain in order to make Maine viable for these companies.

“People are talking a lot about South Carolina and Georgia since they grow trees like corn at such rapid rates,” he said. “But in Maine, we have proximity to these huge markets in New York and Boston, so we’re busy trying to find ways to get these companies here now.”

Sourcing timber products within 250 miles of a project is a huge advantage to practicing sustainability and boosting regional economies—not to mention a reason for rarely crossing borders for building materials. But a little competition is healthy, especially for lumber producers who want to bid in a fair marketplace.

“The more people there are, the better it will be,” said Briand. “I only worry that because we’re such a fast-evolving industry, a lot of companies will build huge facilities and focus solely on making and selling products. It’s not just about the products; it’s about creating strong business plans so the investment pays off.”

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Wood That Does You Good

Wood cladding products that can stand the test of time

Design facades that can endure the elements and look better with time. These exterior wood claddings offer sustainability, durability, and a touch of charm.

WOODWORKS Linear Solid Wood Panels Exterior Armstrong Ceiling & Wall Solutions

Available in six custom finishes and stains, WOODWORKS Linear Solid Wood Panels are made of western hemlock. The 12-inch-by-96-inch linear panels attach to Armstrong’s Prelude EL Exterior system via screw fasteners. Perfect for creating seamless indoor-to-outdoor transitions, the exterior panels are designed to withstand the elements and are great for overhang and soffit applications.

Thermowood Lunawood

Made by glue-laminating panels of Scandinavian pine together, Lunawood’s cladding boards are made in a thermal manufacturing process where wood is processed using only heat and steam, a technique nearly as natural as the wood itself. Available in planks with horizontal or vertical textures, the natural brown color of the wood can be retained using a surface finish or left untreated to patina.

Exterior Wood Cladding Accoya

Made of durable New Zealand-sourced pine, Exterior Wood Cladding is optimal for both large-scale commercial projects and detail-oriented residential designs. Accoya’s external wood siding is extremely durable, and it is available custom profiled to fit specific building designs and specifications.

Alu Siding Technowood

Pairing the charming aesthetic qualities of wood with the strength and resilience of aluminum, Technowood’s aluminum panels are laminated with natural wood veneers. Using less wood than typical siding applications, AluSiding is environmentally sustainable, lightweight, and recyclable.

Nature – Pure FunderMax

Characterized by the clearly defined lines naturally occurring in solid wood, Pure is FunderMax’s new color collection in its Nature collection wood-based cladding. Stark yet soft in its straightforward design, Pure is offered in four thicknesses and six finishes.

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Simulated Mass Transit

Fentress Architects unveils its Expo 2020 Dubai pavilion and hyperloop simulator
Colorado's Fentress Architects has released a first look at the U.S.’s pavilion for the upcoming Expo 2020 Dubai, revealing renderings of its mobility-themed, coliseum-like installation. Under a theme of “What Moves You? The Spirit of Mobility,” Fentress and partners from the U.S. State Department, George P. Johnson Experiential Marketing (which is designing the pavilion’s “experiences”), and various public and private partners from the United Arab Emirates revealed the pavilion’s final design on November 28, 2018. The cylindrical National Pavilion will be set askew with structural slants to convey a sense of movement and wrapped in a dynamic facade that can double as a screen for American-themed background imagery. According to Curtis Fentress, a founding partner at Fentress Architects:
We’re looking at an Expo that is related to mobility, movement, travel, sustainability—things that are very important to the world today. We have designed this building to be circular in form with slants fashioned to project a sensation of movement, making the viewer feel like the building itself is in motion. And then, once you enter the building, it opens up to what the United States stands for: We are an open, accessible country where you can live to create ideas. It showcases all the things we are doing in America: developing technology and concepts that are going to move us forward in the future. Designing this pavilion is a tremendous responsibility—one we take very seriously—as we will be showcasing America and American ideas to over 25 million people expected to visit the Expo.
Pavilion USA 2020, the collective entity responsible for the installation, also announced a partnership with the California-based Virgin Hyperloop One. Come 2020, the pavilion will host mock-ups of Virgin’s hyperloop pods and offer simulated rides ahead of a projected 2021 rollout in as-of-yet unfinalized locations. The three-story pavilion will feature an internal walkway wound around a central internal void and multi-media column that will double as a triple-height public plaza. The programming will explore a range of what “movement” can mean, from space travel, to shipping cargo, to tracking the flow of blood throughout a body. The Dubai 2020 Expo will open to the public on October 20, 2020, and run through April 10, 2021.
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Hitting Benchwallmarks

Governor Cuomo presents plan to prevent L train tunnel closure
At a 12:45 p.m. press conference Thursday afternoon, Governor Andrew Cuomo unveiled plans to prevent the 15-month-long L train shutdown that was set to begin on April 27. Seated between a panel of engineering experts from Cornell and Columbia Universities and representatives from the Metropolitan Transportation Authority (MTA), Cuomo repeatedly touted the innovative nature of the proposed solution—as well as his success in building the new Mario Cuomo Bridge. After Hurricane Sandy struck New York City in 2012, the Canarsie Tunnel that runs between Manhattan and Brooklyn was flooded with salt water. The L line, which ferries 250,000 riders a day between the two boroughs, still requires extensive repairs to fix the corrosion caused by the storm. The concrete bench walls lining the tunnel were damaged, as were the wires and other electrical components embedded behind them. The MTA was scrambling to implement alternatives for commuters, including turning an east-west stretch of Manhattan's 14th Street into a dedicated bus lane, but it now looks like the planning was for naught. The new scheme presented by Cuomo, a joint effort between the governor’s engineering team, WSP, Jacobs Engineering Group, and the MTA, restricts the slowdowns to nights and weekends. Instead of removing and rebuilding the tunnel’s bench wall, and the components behind it, only the most unstable sections will be removed. Then, a fiberglass wrapper will be bonded to the tunnel’s walls via adhesive polymers and mechanical fasteners. A new cable system will be run on the inside of the tunnel via a racking system and the old wiring will be abandoned. New walkways will be added to the areas where the bench walls have already been or will be removed. Finally, a “smart sensor” network of fiber-optic cables will be installed to monitor the bench wall’s movement and alert the MTA to potential maintenance issues. Governor Cuomo hailed the move as innovative, saying that this cable racking system was commonplace in European and Chinese rail projects but that this would be the first application in America. He also claimed that the fiberglass wrapping would be a “structural fix”, not just a Band-Aid, and that it was strong enough to hold the new Mario Cuomo bridge together. To increase the system’s sustainability, floodgates would be added to the First Avenue station in Manhattan and the Bedford Avenue station in Brooklyn. After the presentation was complete, Cuomo passed the microphone to MTA acting chairman Fernando Ferrer, who said that the agency would be implementing the changes immediately. Still, skepticism over whether the MTA would be able to implement the plan quickly bubbled up from the members of the press in attendance and on social media. Because this method of tunnel repair has thus far been untested in the U.S., the question of whether the MTA would be able to find skilled workers to implement the plan was raised. Cuomo, for the most part, brushed the concerns off, claiming that each piece of the repair scheme has been conducted individually before. If the L train repair plan proceeds as scheduled, one track at a time will be shut down on nights and weekends for up to 20 months. To offset the decrease in service, the MTA plans on increasing service on several other train lines, including the 7 and G.
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Cementing Climate Change

Concrete production produces eight percent of the world’s carbon dioxide emissions
Concrete is perhaps the most prolific and malleable construction material in the world, but our continued dependence on it may be contributing to climate change more than was previously known. The English international affairs think tank Chatham House recently released a report that attributed approximately eight percent of the planet’s annual carbon dioxide emissions to concrete production. The chemical processes used to create cement, burning limestone and clay in a high-temperature kiln and grinding the result, contributes the greatest share of emissions (though the collection of sand, a commonly used aggregate, has its own problems). With the 24th Conference of the Parties to the United Nations Framework Convention on Climate Change (COP24) complete, a “rulebook” for enacting the 2015 Paris Agreement on climate change was agreed on by the 23,000 international delegates present. Even with a guide in place for reducing carbon dioxide emissions, the problem with concrete is that demand is only expected to rise. Currently, the world produces 4.4 billion tons of concrete annually, but that number is expected to rise to over 5.5 billion tons by 2050 as poorer countries rapidly urbanize, according to the Chatham House report. For the concrete industry to fall in line with the Paris Agreement’s targets, emissions will need to fall 16 percent from current levels by 2030. The report argues that target is already an ambitious goal. The production of Portland cement, the kind most widely used today, has remained largely the same since the 1800s. Limestone and clay combine in the kiln to form carbon dioxide and “clinker,” a substrate then mixed with limestone and gypsum to create cement. According to Chatham House, research into “alternative clinker” and low-carbon production methods has thus far been slow going. Less energy-intensive kilns, new types of clinker, carbon capture technology, and switching to renewable energy during the production process will all be necessary “to achieve CO2 reductions consistent with at least a 50 percent chance of limiting the average global temperature increase to 2°C above pre-industrial levels by 2100," according to the BBC. Timber, which sequesters the carbon dioxide absorbed by trees over their life, has slowly but surely made strides in replacing concrete in some projects. High-rise timber buildings have gotten a green light in Oregon, and continued research into carbon-neutral (or negative) projects is continuing apace.
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Political Innovation

Andrés Jaque offers an approach to “intersectional architecture”

Andrés Jaque is the founder of the New York and Madrid–based Office for Political Innovation. By exploring the expanded potential of architecture through both speculative and realized designs, the firm has received numerous accolades, including the 2015 MoMA/PS1 Young Architects Program and the 2016 Frederick Kiesler Prize for Architecture and the Arts. In 2014, Jaque’s SALES ODDITY: Milano 2 and the Politics of Direct-to-Home TV Urbanism garnered a 2014 Venice Architecture Biennale Silver Lion award. The 2011 IKEA Disobedients was the first “architectural performance” piece to enter the Museum of Modern Art’s collection. In this project, local residents were invited to hack IKEA furniture, and in doing so publicly perform their everyday private talents and determine their own lifestyles. The project suggests that not all people necessarily abide by the same normative principles or architectural dictates. Jaque is also the director of the Columbia University GSAPP postgraduate Advanced Architectural Design program.

As a member of this year’s AN Best of Design Awards jury, Jaque spoke to The Architect’s Newspaper contributor Adrian Madlener about the current state of architecture. 

The Architect’s Newspaper: What roles do architecture and urbanism play in addressing today’s global challenges?

Andrés Jaque: Architecture and urbanism have a responsibility to mediate some of the most pressing topics reshaping contemporary life: environmental degradation, mounting geopolitical tensions, and the articulation of physical and virtual worlds. There are three unavoidable facts facing society today: Climate change is forcing humanity to redefine how we engage with nature; technology is becoming increasingly autonomous, making it impossible for humanity to maintain control over its impact; and the evolving interaction society has with the offline and the online realms is blurring the distinction between what is real and what is virtual.

Attempting to set clear boundaries between these two realities requires a greater effort. Architecture plays an important role in all these issues. The field has a great capacity and responsibility in the making of facts catering to the collective sense of truth that all forces in society should now—more than ever—respect. Architecture is in the best disciplinary position it has ever been to shape the present and propose potential scenarios for the future.

AN: How can the discipline look to the past to inform the present?

AJ: As architects, we have to reflect on our practice, but also on our legacy. On one hand, we need to develop new ways to operate and respond to changing societal and environmental paradigms. On the other hand, we need to reconsider how we view our predecessors, how we understand and learn from architectural history. Just a few years ago, figures like Cedric Price, Lina Bo Bardi, the Ant Farm collective, and Frederick Kiesler were seen as marginal. Today, these unsung innovators are proving to be the best sources of information for tackling the field’s evolutionary challenges.

AN: You often say that architecture needs to incorporate knowledge from other disciplines. What are the benefits of this interdisciplinary approach?   

AJ: Architecture has the unique capacity to express different perspectives, materialities, temporalities, and scales in interventions charged with multiplicity. Whatever priorities we’re going to address, our response needs to be informed by different realities. Architecture is not an isolated practice. We have to consult other fields: science, art, technology, etcetera. In that way, the discourse around our discipline is becoming more intersectional. It’s important to understand that the design of a building or environment cannot just be accomplished with form and aesthetics alone. Different political, social, economic, and ecological implications need to be considered if a design is to be relevant. 

I defend the concept of intersectional architecture in my capacity as a practitioner and educator. My goal is to develop methodologies that can shift architecture’s interdependence on different realities into an opportunity to engage criticality and to intervene in many areas of contemporary life that are currently being disputed.

AN: Do any of your current projects exemplify the concept of intersectional architecture?

AJ: At Office for Political Innovation, we’re currently designing an experimental school. The project obliges us to simultaneously consider the daily life of its students, but also the larger context that they will occupy. On a larger scale, we’re actually structuring an ecosystem that addresses its own consumption. This aspect will also become an important resource when teaching the students about sustainability. 

We’re also currently designing a house on one of the outer islands near Corpus Christi, Texas. Our proposal offers solutions on different levels. On one hand, it’ll serve as a getaway for a Dallas-based family; on the other, it’ll collect fresh rainfall to irrigate the surrounding mangrove—an important line of defense that can combat erosion and rising sea levels. The house can accommodate the owner’s almost hedonistic desires while still ensuring the survival of its surroundings. What we’re realizing in our practice is that architecture needs to simultaneously cater to different realities within a single response. A design has the ability to address often disparate elements and perspectives.

AN: From your experience as a cocurator of 2018’s Manifesta 12 biennial in Palermo, Italy, how do you think art practice influences the way we imagine and/or create cities?

AJ: Palermo is not a city but rather a hub for the stratified relationships that tie it to distant places like sub-Saharan West Africa, Bangladesh, and the United States. These connections occur through the flow of capital and investment—that dispute the future of the city’s built environment—but also the nearby military base that foreign powers use to strike the Middle East and northern Africa. Palermo’s architecture, the dialectic between its role on a local and global level, has proved to be ineffectual in dealing with these transnational interactions.

In this scenario, architecture and art are the only disciplines that can bring heterogeneous situations together. Whether it’s the migration crisis or a personal struggle, these realities simultaneously develop on different scales. Architecture and art can mediate the evolution of these realities by introducing the values of urbanity, new forms of citizenship, and the aesthetics of inclusivity. This can only happen if such interventions take stock of what is already in place and grasp the full scope of complexity that the context might contain. To be truly impactful, the initiatives must cater to all parts rather than just the most powerful elements. An open cultural platform like the Manifesta art biennial offers architects and artists the space to test out independent action that the urgency of commercial commissions rarely provides. 

AN: How is architecture education changing?

AJ: Within the Advanced Architectural Design Program that I direct at Columbia University, students—who already have significant experience with design as a critical medium—explore new forms of practice in different contexts. They gain an analytical understanding that will allow them to intervene and apply architecture as a contemporary methodology. Various speculative exercises allow them to test out how the field could have a wider scope of influence in the future. They don’t learn a predetermined set of skills, but rather work together and with faculty to reinvent architecture as a discipline that can respond to the world’s greatest problems. 

It is crucial that they are able to translate this discursive approach when entering or reentering the profession. In our program, we’re trying to change architectural education by introducing an experimental pedagogy. Students are given the time and space to develop situated projects that address specific, real-world briefs. With its many firms, experts, advocacy agencies, and organizations, New York offers the perfect context for these investigations.

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A Year in Sports (Architecture)

Let’s kick it: Here are the top sports architecture stories of 2018
Is the United States becoming more serious about soccer? We think we have evidence to say that it is. AN’s most popular sports stories of 2018 center around the world’s greatest sport, telling us that this year’s uptick of soccer-related architecture news signals a newfound appreciation for the game in our country. Read on for several developments you should pay attention to, and other stories about why sustainable stadium design is also on the rise. David Beckham’s Miami soccer village reveals Arquitectonica’s designs Miami is set to receive its first Major League Soccer (MLS) team, backed by soccer superstar David Beckham who plans to build a 73-acre campus for the city called “Miami Freedom Park.” Arquitectonica revealed new renderings of the sports village, complete with a sweeping, 25,000-seat soccer stadium. In November, local residents voted to approve the project and its projected location on the city-owned Melreese Country Club golf course, meaning Beckham’s vision is one step closer to breaking ground. Nashville’s new $2 million soccer stadium takes shape In December 2016, MLS announced a major club expansion to four U.S. cities including Nashville, Tennessee. Though the southern city wasn’t sure it’d be awarded a new team, plans for a multimillion-dollar stadium project had been in the works for over a year. This February, HOK released its first renderings of the new stadium, which will be constructed inside the Fairgrounds, home of the Tennessee State Fair. Selecting the central site was a contentious process throughout 2017 when a lawsuit was filed citing the city had violated its charter by proposing the project on public grounds. 2026 World Cup preview: Which U.S. cities will host? As Qatar preps for the 2022 World Cup, the United States is on deck to host the 2026 games alongside Canada and Mexico. That’s exciting news for a country whose national team rarely makes it into the World Cup lineup—the joint bid automatically ensures us a spot. But what’s not yet official are the 10 cities that will host events. We know that 60 of the 80 planned matches will be played in the U.S., including those from the quarterfinals onwards, but currently, 17 cities are still in the running. Which top towns, along with their state-of-the-art stadiums (which are an integral part of the individual bid), will make the cut? We’ve listed all the contenders here from Atlanta’s new Mercedes Benz Stadium by HOK (host of the 2019 Super Bowl) to the classic Rose Bowl in Los Angeles. Naturally-ventilated Louis Armstrong Stadium debuts at US Open Ahead of this September’s US Open, the USTA Billie Jean King National Tennis Center finished a five-year, $600 million renovation project of its campus in Flushing, Queens, New York. The massive update included the buildout of the new Louis Armstrong Stadium, the world’s first naturally ventilated tennis arena with a retractable roof. Designed by Detroit-based firm Rossetti, the 14,000-seat stadium replaces the former Louis Armstrong Stadium, which was demolished after the 2016 championship. The new structure features the same stacked seating style as its predecessor but serves up extra sustainability with the exterior overlapping terracotta louvers that act as horizontal window blinds. New home of the Texas Rangers has a climate-controlling, retractable roof HKS has designed a new 41,000-seat baseball stadium for the Texas Rangers in Arlington, Texas, set to replace the old Globe Life Park in 2020. The aptly named Globe Life Field will be a glass- and brick-clad structure featuring new climate-controlling infrastructure and a retractable roof. HKS’s design for the 1.7 million-square-foot ballpark was inspired by the vernacular style of Texas farmhouse porches. BIG unveils designs for new Oakland A’s stadium featuring a rooftop park Late this November, Bjarke Ingels Group (BIG) and the Oakland Athletics unveiled plans for a new baseball park and mixed-use campus in Oakland, California. Complete with a literally diamond-shaped stadium, the project is being pitched as a double-play for the city. It will feature an open and accessible landscape situated within Oakland’s underutilized Howard Terminal and will also include housing, recreational spots, and a business hub. Gensler and James Corner Field Operations will work alongside BIG to build out the mega-green space by 2021.
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Professor of Cities

Thom Mayne to take over SCI-Arc’s cities program
Thom Mayne of Morphosis will be rejoining the Southern California Institute of Architecture (SCI-Arc) as a full-time distinguished faculty member as the new coordinator for the SCI-Arc EDGE Design of Cities postgraduate program. Mayne, one of the original founders of SCI-Arc, will be taking over the Design of Cities program from current coordinator David Ruy, who will stay on as head of postgraduate studies at the school. Regarding Mayne’s new post, SCI-Arc director Hernan Diaz Alonso said:
“It is wonderful to have Thom Mayne come back home. He is a major part of what SCI-Arc is, was, and will be. Thom Mayne represents everything that we want our students to aspire to. Thom embodies the best aspirations of architecture as a historical, cultural, and political force that is unique among creative disciplines. Thom will help us to maintain the unique spirit of exploration that defines SCI-Arc. In the contemporary world, architectural thinking should be a platform for challenging the status quo. We welcome back to SCI-Arc, one of the pioneers of this idea.”
Mayne has extensive experience as an educator and has held teaching positions at Columbia, Yale, the Harvard Graduate School of Design, the Berlage Institute in the Netherlands, the Bartlett School of Architecture in London, and most recently at the University of California, Los Angeles, where Mayne led the school’s Suprastudio, among other institutions. The Design of Cities program is focused, according to the SCI-Arc website, “against the conventional wisdom that cities are hopelessly complex, informal networks beyond the reach of any design model, this program fundamentally believes in the power of the architectural imagination to create sustainable urban designs for the twenty-first century and beyond.” With a long legacy of urban- and sustainability-focused work and research under his belt and a growing momentum toward regional urban transformation in Los Angeles and California more broadly, expect to see Mayne’s provocative ideas take on new life as he undertakes his new position.
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To Live is to Learn

2018 Best of Design Awards winners for Education
2018 Best of Design Award for Education: Daniels Building Designer: NADAAA Location: Toronto

The University of Toronto’s Daniels Faculty of Architecture, Landscape, and Design (DFALD) tapped NADAAA to design a new, 155,000-square-foot center that could incorporate studio spaces, fabrication workshops, classrooms, and offices. The school wanted the new building to also operate as a working sustainability prototype. The facility is connected to the adjacent landmark Knox College building, an existing 19th-century structure that features Gothic spires and edges. Though significantly different in style and detail, the historic building creates the ideal foil for the contemporary, boxlike facility. The folds of the roof aim to capture daylight while the glazing maximizes northern views. A Miesian curtain wall complements the building’s sober yet bold concrete and steel structure.

Honorable Mentions Project Name: UCSB San Joaquin Student Housing Designer: Lorcan O'Herlihy Architects Location: Santa Barbara, California Project Name: Sherman and Joyce Bowie Scott Hall at Carnegie Mellon University Designer: OFFICE 52 Architecture Location: Pittsburgh
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Eat Your Heart Out

London’s Gingerbread City goes high-tech for 2018
The sprawling Gingerbread City is back in London for another year, bringing the biggest names in European architecture together for an exercise in edible design. Over 60 studios have contributed gingerbread buildings to the Museum of Architecture’s annual holiday exhibition, bringing an abundance of sugar glass to the Victoria & Albert Museum (V&A) until January 6, 2019. The 1:100 scale city was again master planned and sponsored by Tibbalds Planning and Urban Design, and like last year’s installation, champions progressive urbanist ideas such as sustainability and accessible mass transit. Rooftop (candy) farming, a stadium, high rises, shorter multifamily housing, a botanical garden, college campus, opera house, and more are all present. Foster + Partners went high-tech for their contribution this year, using a robot arm to construct a serpentine, open-air pavilion reminiscent of BIG’s Unzipped. London-based Apt created the SugarLoop, a walkable green corridor through the city that references the High Line but also includes several literal loop-the-loops. Zaha Hadid Architects stacked sheets of rounded gingerbread to create a ribbed concert hall that wouldn’t look out of place in their real-world portfolio. Hopkins Architects contributed the Bakewell Bridge, which features a variety of different gingerbread people meant to bolster the city’s diversity. The professionally-designed buildings aren’t available to eat, but the Museum of Architecture is offering workshops on 10 different days for families who want to construct their own gingerbread masterpieces. Not in London? New Yorkers can check a more staid, but equally impressive, scale recreation of NYC’s landmarks rendered in cookies at the Columbus Circle Williams Sonoma.