Dutch architects MVRDV have teamed up with Australian architecture firm Hassell to craft a scheme for Resilient by Design’s Bay Area Challenge competition that focuses on a taking a kit-of-parts approach to create an interconnected network of urban zones and landscapes that can potentially mitigate some of the effects of climate change for the city of South San Francisco. The proposal—dubbed “Connect and Collect”—envisions deploying a taxonomic set of structures developed by the firms in order to create a type of “do-it-yourself urbanism” that would supercede existing development, according to a promotional video issued with the design proposal. Taken together, the structures fulfill the basic functions of urban life at various scales, creating places to gather, receive services, live, and work, while also offering the flexibility to change in use after natural disasters. The proposal divides inhabited areas into two distinct but interwoven zones that are then populated with “collector” sites residents can make use of. So-called “shoreline collectors”—art venues, floating farms, emergency shelters, ferry terminals, and other objects—will dot the water’s edge and its surrounding tidal zones, according to the scheme. These areas are meant to connect with so-called “uphill collectors”—grocery stores, hospitals, emergency castles, car and bike-sharing facilities and the like—further inland via a set of urban-focused streets and nature-focused creeks that change as they drop to meet the water’s edge. The collectors are to be organized in grouped configurations, adjacent to regionally-scaled infrastructural elements like schools and transit. These nodes will then aggregate with one another via multi-modal connections to create a distributed network of soft-edge urban areas that not only function on a day-to-day level, but also adapt to natural disasters and periodic flooding with greater ease than existing development models. Renderings and diagrams for the proposal depict colorful groupings of the collector structures organized in porous, quasi-urban configurations with the spaces in between the collector sites populated by nature trails, bicycle paths, and transit lines. The plan proposes a slew of new public recreational areas to help create these hydrophilic zones, including a new shoreline park at Colma Creek. In a statement announcing the proposal, Nathalie de Vries, MVRDV's co-founder, said, "Climate change is real; by the end of the century there will be a sea level rise of two meters," adding, "Bay Area communities [must] respond to this challenge in a multi-disciplinary approach to upgrade their general resilience." The so-called HASSELL+ team’s proposal is among ten visions articulated for Bay Area communities being developed as part of Resilient by Design’s Bay Area Challenge. Competing groups include teams helmed by BIG, James Corner Field Operations, and Scape, among others. A recently-revealed proposal by BIG and One Architecture+Urbanism proposes a series of floating islands for the south San Francisco Bay. Other members of the HASSELL+ design team include: Deltares, Lotus Water, frog design, Originate, Civic Edge Consulting, Goudappel, and Page & Turnbull architects. The designers will continue to work through this spring and will present their final proposals in May 2018 at the Global Climate Action Summit in San Francisco.
Search results for "James Corner Field Operations"
Bjarke Ingels Group (BIG) has unveiled a speculative design proposal that aims—among many aspects—to populate the San Francisco Bay with floating villages as part of an effort to buttress the region against climate change–induced flooding. The proposal is undertaken with One Architecture + Urbanism (ONE) and Sherwood Design Engineers and is among a slate of ten newly-announced schemes generated for the Resilient By Design Bay Area Challenge, a regional competition aimed toward generating ideas for how to best protect the Bay Area from rising sea levels. Projections for the region call for a minimum of four feet in sea level rise under moderate warming conditions by 2100. The changes would bring flooding to the area much more frequently than is currently the case, a development that would devastate coastal communities. Many of those communities are built atop landfills over former marsh areas and tidal zones. BIG’s proposal takes two routes in its effort to achieve its ambitious goals. First, the plan calls for restoring Islais Creek—a stubby inlet on the San Francisco side of the Bay sandwiched between the Dogpatch and Hunters Point neighborhoods—as part a larger plan for retrofitting the entire San Francisco Bay’s edge. BIG’s conceptual masterplan for the San Francisco Bay envisions restoring the wetlands along the water’s edge lost to development while redistributing new population centers into the bay to create an urban archipelago connected by public ferries. The plan also proposes relocating and expanding the existing network of industrial, port, and warehouse activities into more compact configurations surrounded by trails, marshes, and parkland. The scheme also calls for modernizing a stretch of Interstate-101 as a “machine for autonomous collective transit,” as explained by BIG founder Bjarke Ingels in a presentation video. The plan would create a Bus Rapid Transit loop in the south Bay that will anchor and connect new density nodes. The plan would extend to the southern edges of the Bay, as well, where existing salt palm and tidal marsh areas will be revisioned into experimental urban agriculture zones. The proposal is joined by schemes from James Corner Field Operations and Hassell+, among other multidisciplinary groups, and follows a year-long research period that brought together designers, landscape architects, planners, politicians, and community activists from across the region. For more information, see the Resilient by Design: Bay area Challenge website.
Kengo Kuma and Associates and Natoma Architects have been added to the project team for the recently-revealed 1111 Sunset Boulevard development slated for the former Metropolitan Water District (MWD) headquarters on the edge of Downtown Los Angeles. The announcement of the expanded team—which also includes SOM and James Corner Field Operations (JCFO)—came this week along with a fresh set of renderings for the 5.5-acre project. With the project, Los Angeles–based developer Palisades is looking to transform a derelict section of William Pereira’s MWD headquarters into a 778-unit mixed-use enclave containing retail, public open spaces, and a boutique hotel designed by Kuma. The development consists of three high-rise towers that sit atop a continuous and permeable podium spanning the sloped site. According to the renderings, the complex will contain a cluster of low-rise apartments at one corner surrounding underground parking for a pair of housing towers. As those apartments terrace up the hill, they will give way to a shared plaza at the base of the high-rise towers. Project renderings depict a pair of 30- to 40-story tall towers along this section of the site. Each of the towers rises from the podium on a gigantic pod containing a solid, monolithic core. Roughly five stories up, the tower’s typical floor plates begin to cantilever over the plaza, leaving an open viewshed several stories high from the plaza. The move is an attempt by the designers to minimize the heft of the project along its lower levels and an effort, as well, to preserve certain views for existing hillside residences located directly behind the development. The renderings also depict certain portions of the Pereira structure reused as ground floor amenity spaces. JCFO is developing the project’s more than two acres of landscaped areas. In terms of plantings, renderings depict clusters of palm trees, jacaranda trees along the street, and succulent-bordered lawn areas overlooking Downtown Los Angeles. The project will share the site with Linear City’s Elysian tower development, a portion of the existing Pereira-designed complex that David Lawrence Gray Architects repurposed in 2014. 111 Sunset is among several high-rise, high-density projects slated for the area. An official timeline for the project has not been released. See the project website for more information.
Parks over Parking
Santa Monica looks to cap Interstate 10 in new downtown plan
Local planning politics on Los Angeles's Westside is in a sad state of affairs. There, a municipally-led push to complete city streets by adding bicycle infrastructure and other pedestrian improvements has been met with fierce opposition from local drivers. Recent efforts in L.A’s Mar Vista neighborhood, for example, grew so toxic that community members launched a now-stalled recall bid to remove Mike Bonin—the local council person who champions the so-called “road diets” as well as the city’s Vision Zero plan those diets support—from office. The embarrassing spectacle has thrown into question the commitment L.A. residents have not only toward prioritizing the City’s plan for eliminating all traffic deaths by 2025, but also their reluctance to take personal responsibility for reducing transportation-related carbon emissions across the region. Nevertheless, there might be hope yet. That hope comes in the form of a new downtown plan taking root just a few blocks from Mar Vista, in the City of Santa Monica. The beachside municipality recently approved its new Downtown Community Plan (DCP), a document that looks to convert downtown Santa Monica into a “complete community” offering dense urban housing, multi-modal transportation options, and a healthy sprinkling of public open and green spaces. The city’s planning agency has taken a variety of steps to promote this vision by increasing maximum Floor-Area-Ratios for sites that include housing development in certain zones, eliminating parking minimums for some types of new construction, and pushing to reconfigure downtown streets in the image of universal transport. Through this new plan, the municipality is working to expand the functionality of its sidewalks and streets by increasing their capacity to support bicycle infrastructure, demarcating specific loading zones for buses and ride sharing services, and recognizing key “signature sidewalk” areas that will strategically enhance street life. The plan indicates that Santa Monica city officials are keenly aware that the future of the L.A. region will depend just as much on what happens in the spaces between buildings as it will on the buildings themselves. Critically, the plan also calls for capping the western terminus of Interstate 10 with a new park, a move that would fully transform the southern edge of the city into a civic and commercial node while also providing the city with an opportunity to rework surface streets to better accommodate the new focus on multi-modal transport. The section of I-10 in question sits in a 20-feet-below-grade channel spanning roughly 7,000 feet across what was once the city’s civic core; the stretch of highway is bounded on one side by Santa Monica City Hall and Ken Genser Square and on the other by the James Corner Field Operations–designed Tongva Park. Santa Monica Lookout reports that the DCP’s Gateway Master Plan element—the document spelling out just how the highway-adjacent areas are to be redesigned—will go up for consideration by the city’s Department of Planning and Community Development sometime this spring. The department recently issued a report that includes support for the freeway cap as part of several long-term changes for the city. The report describes the freeway park’s ability to offer a “unique opportunity for strengthening connections” within the city as a principal reason for its construction. Aside from proposing a specific, multi-modal plan for reconnecting the city’s street grid, the Gateway Master Plan will envision a method for reworking and connecting several key sites surrounding the future park, including an adjacent Sears department store complex, the Santa Monica Civic Center, and nearby Expo Line and Big Blue Bus stations. Although calls for the freeway cap park in Santa Monica date back to the 1980s, recent years have seen a bevy of proposals for similar installations across the Los Angeles region, including over Interstate 110 in Downtown Los Angeles and over U.S. Route 101 in Hollywood. Another proposal is still in the works to cap another portion of U.S. Route 101 with an overpass that would allow local mountain lions and other fauna to traverse the highway safely. Though Santa Monica’s freeway cap is still in the early stages of approval, the municipality expects to implement the initial phases of the Gateway Master Plan by 2021. An official timeline for the freeway cap park has not been released.
And the winner is...
2018 AIANY Design Awards winners announced!
AIA New York announced the recipients of their 2018 Design Awards tonight at the Center for Architecture, and the winners were once again varied across project type, scale, and country. Narrowing their scope from the 35 winners chosen last year, this year’s group of distinguished AIA New York members presented exceptional examples of work the world over, with only 12 of the 32 projects based in New York. The jurors were as varied as the projects they were judging, and included the following:
- Gro Benesmo, Partner, S P A C E G R O U P
- Ila Berman, DDes MRAIC, Dean and Edward Elson Professor, UVA School of Architecture
- Aaron Forrest, AIA, NCARB, Principal, Ultramoderne
- Walter Hood, Creative Director, Hood Studio
- Tom Kundig, FAIA, Principal and Owner, Olson Kundig Architects
- Debra Lehman Smith, Partner, LSM Studio
- Meejin Yoon, AIA, Co-Founder, Höweler + Yoon Architecture LLP, Professor and Head of the Department of Architecture, Massachusetts Institute of Technology
Architect: NADAAA Associate Architect: Adamson Associates Architects Restoration architect: ERA Architects Project: University of Toronto Daniels Building at One Spadina Location: Toronto, Canada MERITS Architect: Desai Chia Architecture Architect of Record: Environment Architects Landscape Architect: SURFACEDESIGN Project: Michigan Lake House Location: Leelanau County, MI Architects: LTL Architects and Perkins+Will Landscape Architect: Trowbridge Wolf Michaels Landscape Architects Project: Cornell University Upson Hall Renovation Location: Ithaca, NY Architect: nARCHITECTS Project: NYC DOT Harper Street Yard Structures Location: Corona, NY Architect: N.E.E.D. Architecture Project: The Book Company Headquarters Location: Seoul, South Korea Design Architect: Renzo Piano Building Workshop Executive Architect: Davis Brody Bond Associate Architect: Body Lawson Associates Landscape Architect: James Corner Field Operations Project: Columbia University Lenfest Center for the Arts Location: New York, NY Architect: Richard Meier & Partners Architects Associate Architect: RAF Arquitetura Project: Leblon Offices Location: Rio de Janeiro, Brazil Architect: Selldorf Architects Architect of Record: C + D Architects Landscape Architect: Bureau Bas Smets Project: LUMA Arles Location; Arles, France
Architect: Studio Libeskind Landscape Architect: Claude Cormier + Associés Project: Canadian National Holocaust Monument Location: Ottawa, Canada Architect: StudioSUMO Architect of record: Obayashi Corporation Project: Josai International University i-House Dormitory Location: Togane, Japan Architect: Tod Williams Billie Tsien Architects | Partners Associate Architect: Ballinger Landscape Architect: Michael Van Valkenburgh Associates Project: Princeton University Andlinger Center for Energy and the Environment Location: Princeton, NJ Architect: WEISS/MANFREDI Architecture/Landscape/Urbanism Architect of Record: Richard L. Bowen + Associates Landscape Architect: Knight & Stolar Project: Kent State Center for Architecture and Environmental Design Location: Kent, OH Architect: WORK Architecture Company Project: Queens Library at Kew Gardens Hills Location: Flushing, NY CITATIONS Architect: David Scott Parker Architects Architect of Record: Bosch Architecture Project: Williamsburgh Savings Bank Location: Brooklyn, NY Architect: Michielli + Wyetzner Architects Project: Delancey and Essex Municipal Parking Garage Location: New York, NY INTERIORS HONORS Architect: N H D M / Nahyun Hwang + David Eugin Moon Architect of Record: ALab Architects Project: Nam June Paik Art Center Renovation Location: Yongin, South Korea
MERITS Architect: LEVENBETTS Project: Cornell University Rhodes Hall Location: Ithaca, NY Architect: Peter Marino Architect Project: The Lobster Club Location: New York, NY Architect: Rice+Lipka Architects Project: Parsons Making Center Location: New York, NY Architect: A+I Interior Architect: SheltonMindel Project: New York Family Office Location: New York, NY CITATION Architect: Young Projects Landscape Architect: Future Green Studio Project: The Gerken Residence Location: New York, NY PROJECTS HONOR Architect: LTL Architects Project: Manual of Section MERIT Architect: APTUM Architecture Project: Thinness Pavilion Location: San Francisco, CA CITATION Architect: Studio Joseph Architect of Record: Foster + Partners Project: London Mithraeum Location: London, UK
URBAN DESIGN MERITS Architect: Kohn Pedersen Fox Associates Project: One Vanderbilt Location: New York, NY Architect: NADAAA Project: Justice in Design Location: New York, NY Architect: ROGERS PARTNERS Architects + Urban Designers Project: Houston-Galveston Area Protection System (H-GAPS) Location: Galveston Bay, TX
AIA|NYS has named Brooklyn-based nARCHITECTS as the 2017 Firm of the Year. Established in 2005, this yearly award highlights a firm in New York State that has made"notable achievements in design, community service, education and service to the profession and the AIA." nARCHITECTS, led by Principals Eric Bunge, AIA, and Mimi Hoang, AIA, was founded in 1999. The firm has been recognized for its work in pushing the boundaries of architecture through innovative concepts, awareness of social responsibility, and the successful incorporation of technology within their designs. AIA|NYS stated in their press release, “The team has proven through their innovative design approach that they are a leader in the profession, noted by their peers and capturing the attention of the design world.” The firm has completed several notable projects within and outside of New York City. Projects in New York include Carmel Palace, New York City‘s first entirely micro-unit apartment complex, and The Switch Building in Lower Manhattan, a mixed-use apartment and gallery space which displays a creative approach to the area's zoning regulations and features distinct angular facade elements in a modern interpretation of the classic New York bay window. Projects outside the state, such as the redesigns of Chicago’s Navy Pier, Seattle's Waterfront and Cleveland’s Public Square, in collaboration with James Corner Field Operations as design lead, highlight the firm's strengths in merging building and public space design within existing urban landscapes.
REX has bestowed a shiny new skin on a late Brutalist office building that was, until recently, one of the ugliest buildings in Manhattan. Up until the renovation, the building was known as the elephant's foot, in dubious honor of a horrific 1980s renovation that left the elegant concrete structure clad in brown metal panels and beige paint. Now called 5 Manhattan West, the building has undergone yet another makeover, spearheaded by REX, to update its facade with the latest in form-fitting fenestration. The Brooklyn-based firm ultimately devised a pleated glass facade that ripples down the building like a stretched ziggurat to flood the large, open interiors with light. These pleats are composed of panels angling out toward each other from the floor and ceiling, a design driven by the need to mitigate the structure’s slope, which limited the leasable space along the interior perimeter. But the unique form is more than just window dressing. According to Joshua Prince-Ramus, REX's founding principal, “What’s interesting about the geometry is that the sun doesn’t hit the lower piece of glass, so we can have a building that is transparent and simultaneously energy efficient." Prince-Ramus praised REX's client, Brookfield, for its holistic approach to sustainability that centered reuse—not just LEED-level performance. "In our lifetimes, adaptive reuse is going to be the stuff from which we make 'capital A Architecture,'" he said. The pleating also complied with ADA standards for head strike, allowing for uninterrupted exterior views while maximizing tenants' floorspace, and allowed the designers to rigorously test the concrete from the 1960s, which was cast using different standards from today. The structural maneuvering honestly exposed concrete from Davis Brody's (now Davis Brody Bond) original design, a move that was especially evident on the east-west breezeway. The renovation was done with tenants in place, on a feverish nights-and-weekends schedule. Although some floors have yet to welcome new tenants like J.P. Morgan Chase and Amazon, 5 Manhattan West's common spaces and outdoor areas by James Corner Field Operations are largely complete. The squat, 1.7-million-square-foot structure features ground level retail, a two-story elevated breezeway on the southern side, and a full interior renovation, with open floor plates ranging from 86,000 to 124,000 square feet (no, that's not a typo). With ceiling heights from 15 to 17.5 feet, the super-sized office spaces allow the old-new building to compete with Hudson Yards' office spaces, which feature large, and largely column-free, interiors. Adamson served as executive architect for the $350 million project. The 5 Manhattan West re-clad slots the office building squarely into Brookfield Office Properties’ Manhattan West development. Bounded by Ninth Avenue to Tenth Avenue and 31st Street to 33rd Street, Manhattan West encompasses nearly six million square feet across six buildings.
The New York City Landmarks Preservation Commission (LPC) has asked PAU to take its plans for the Domino Sugar Refinery back to the drawing board. While reactions from the public and commissioners were warm on the whole, commissioners debated whether the building, which has sat vacant for more than a decade, is a ruin or "armature" as Practice for Architecture and Urbanism (PAU) claimed, or whether the structure could—or should—be treated like an adaptable building. Essentially, PAU intended to use the facade as a mask for a glass office building. Instead of sitting right up against the old brick, the new building would be set back ten feet from the old, and workers could get outside and up close to the original walls via metal latticework terraces poking through the glass envelope. The approach, explained founding principal Vishaan Chakrabarti, would preserve the bricks by equalizing the temperature and humidity on both sides while allowing the architects flexibility within a challenging original structure. A round arched glass roof would dialogue with the American Round Arch windows that define the facade, while on the ground floor, the designers proposed a through-access from the Kent Avenue smokestack to the park and water that would would be open to the public. "We are guardians of the future of the past, and our central question is whether, through the restoration, the old can give new identity to the new," he said. PAU's approach is similar to a Beyer Blinder Belle proposal the LPC approved in 2014, a fact that Chakrabarti and developer Two Trees underscored in cross-comparisons throughout the presentation (PDF). The firm also drew inspiration from Norman Foster's renovation of the Reichstag, in Berlin, and to St. Ann's Warehouse, Marvel Architects' theater complex in an industrial ruin on the DUMBO waterfront. Purpose-built 19th century factories are often difficult to adapt for non-manufacturing uses, and the Domino refinery is no different. The part of the refinery under consideration today accommodated massive machines that boiled, filtered, and reconstituted sugar; the windows give the structure monumental panache from the outside but bear no relationship to the interior program. Consequently, the architects decided to give the new, 400,000-square-foot building within the old the same floor-to-floor heights throughout, allowing access to windows of uneven height on the terraces. From the outside, the mullion pattern on the barrel-vaulted glass roof would reflect the gradation of the bricks on the weathered smokestack, a nod to the old within the new. (The bricks, a project engineer confirmed, are in "generally good" condition.) Though PAU hasn't selected the glass yet, Chakrabarti indicated it would be as "clear as possible," noting that the firm is considering electrochromic glass for the roof. When he broke the news of the Domino plans last month, New York Magazine architecture critic Justin Davidson called the 19th-century structure a ruin. PAU maintains the factory is a "donut awaiting filling." But Landmarks wasn't so sure. "As an architect, I really like the aesthetic," said Commissioner Michael Goldblum. "To my recollection, this is the first time a building that is and was understood as an occupied volume is being transformed into an unoccupied ruin or 'armature,' to be read as an independent object from the [proposed] structure." "I'm not saying it's inappropriate, but I'm struggling," he added. On the public side, two neighborhood nonprofits supported the design, while the Municipal Arts Society (MAS) asked the commission to work with PAU and Two Trees on the specifics of the proposal, particularly the windows and desired patina. It suggested a public exhibition on the refinery to prevent the building from being understood as "just a ruin." Preservation advocacy group the Historic Districts Council, however, was not on board with the proposal at all. "[To] strip the building down to a shell would represent a significant removal of historic fabric and would destroy the 19th century industrial construction methods still exhibited inside—and both are important reasons for the complex’s designation in the first place," said HDC's Patrick Waldo. In light of the "ruin or building?" discussion, the LPC took no action on Tuesday, and as of now, there's no date set for PAU to present its revised proposal. Although today was the first time PAU's plans landed before the LPC, the renderings were revealed in early October. Back in 2014, Two Trees tapped SHoP and James Corner Field Operations to master plan the site. SHoP also designed 325 Kent Avenue, the square donut copper-and-tin–clad building adjacent to the sugar factory, a residential building that began leasing earlier this year. James Corner Field Operations' park on the waterfront is slated to open this spring.
This story is part of a monthlong series of guests posts by AIA New York that feature Archtober Building of the Day tours. See the full 2017 schedule here. On Sunday, Archtober toured Freshkills Park, a former New York City landfill on Staten Island redeveloped into a 2,200-acre green space. Our tour guide was Mariel Villeré, the Manager for Programs, Arts and Grants at Freshkills Park. She gave us insights into the park’s history, design, and construction. An NYC Parks minibus picked us up from the Staten Island Ferry Terminal for the 30-minute ride to the site. After signing our waivers and traveling some distance over sanitation department roads, we arrived at the Visitor Center. Here, Villeré delved into the history of the site and the project. Until the mid-20th century, Freshkills Park was a wetland. In 1948, Robert Moses chose this supposedly “useless” site to create a landfill, which by 1955 was the largest in the world. The waste was dumped into four huge mounds, North, South, East and West, which today form the basis of the park’s landscape. The waste dump, which all five boroughs used, was officially ordered to close in 1996, and the last barge of refuse was sent to Freshkills after the World Trade Center attack in 2001. (The boroughs now have separate contracts with outside landfills; Staten Island’s garbage, for example, is shipped to South Carolina). In 2001, the Freshkills Park Alliance and NYC Parks launched a competition for a site masterplan, which James Corner Field Operations won. Their plan proposed the four distinct areas of the park based on the garbage mounds, along with a central area, known as the Confluence. Our tour focused on North Park, which recreates and strengthens the site’s wetlands and creeks. The entire site is two-and-a-half times the size of Central Park. In North Park, we took in the stunning views over Staten Island to Manhattan on the north and the rest of Freshkills Park to the south. Villeré discussed the vision behind the park’s design, noting how they needed to balance the recreation of the former habitat with the understanding that the site’s ecology and meaning have been irrevocably changed by 50 years of trash. While the garbage is under several layers of topsoil, no attempt is made to downplay the typical mound shape of the landfill. This creates an ecological opportunity in the northeast, where the drive for reforestation sometimes sidelines open spaces and wetlands. The diversity of the park has increased dramatically over the last few years, with over 100 species of birds now counted at the site. Villeré outlined the manifold challenges of creating a park on top of a landfill. Landfills generate two byproducts: landfill gas and leachate. At Freshkills, landfill gas is funneled into treatment facilities where its components, methane and CO2, are separated. The methane is piped into the New York City gas grid. The other product, leachate, is the liquid that forms, on a small scale, at the bottom of a trash bag. At Freshkills, permeable pipes laid in concrete ditches at the bottom of each mound collect the leachate. It is then treated and separated into leachate cakes, a highly concentrated substance, and clean water. We also drove by a flare station, which is a backup in case there is an issue with the system piping methane into the grid. Since the site is so huge, the project is necessarily phased. These phases are arranged from the outside in order to give back to the surrounding community, which was negatively impacted by the dump. The timeline has therefore prioritized small, demonstrable projects along the park’s edges. So far, some wetland restoration, Owl Hollow soccer fields, the New Springville Greenway, and the renovation of Schmul Park have been completed. We got a view of Schmul Park in the Travis neighborhood just to the west of the park. The redesign of a Moses-era blacktop playground–also by James Corner Field Operations–is now vibrantly colorful, packed with children and families on the warm October day. It is a blueprint for the success of an extraordinary project that will transform not only an extraordinary site, but how we think about the relationship between waste and nature in New York and beyond.
Mirage houses, Mongolian blob museums, and other updates from the architects of Instagram
At The Architect’s Newspaper, we’re plain addicted to Instagram. Sure, we love seeing Brutalist concrete through “Inkwell” or “Ludwig” filters, but there’s also no better place to see where architects are getting their inspiration, how they’re documenting the built environment, and where they’ve traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don’t forget to check out our Instagram account here.) A new exhibit on the historical iterations and potential of scaffolding went up at the Center for Architecture, and Shohei Shigematsu of OMA was the exhibition's lead designer. https://www.instagram.com/p/BZmIjN-hQh0/?taken-by=centerforarch A short hop across the East River, the Noguchi Museum is gearing up for the October 25 opening of Gonzalo Fonseca's architectural sculptures, many carved from stone. https://www.instagram.com/p/BZ1f0wpHH1F/?taken-by=noguchimuseum SO-IL's Florian Idenburg paid a visit to a panopticon prison in Haarlem, Netherlands called Kijk in de Koepel. His visit was timed perfectly with two news bits that had us chuckling this week: One upsettingly real (Jeremy Bentham's literal severed head displayed in an upcoming exhibit), and the other pure satire (meet Synergon). https://www.instagram.com/p/BZoAOCVn8AC/?taken-by=florianidenburg Andrés Jaque, founder of Office for Political Innovation, posted the opening of his new exhibit titled Transmaterial Politics, which opened at Tabacalera Madrid on September 28. Poppy and probing as always. https://www.instagram.com/p/BZpq6FJAz4E/?taken-by=andres_jaque MAD Architects threw us back to their Ordos Museum in inner Mongolia, a mass of organic and rigid forms cloaked under an undulating shell of metal tiles. Without wanting to, we will imagine it springing to life at night and prowling the Gobi Desert under a shrouded moon, much like Gehry museums (wherever they live). https://www.instagram.com/p/BZnkPdyFNdq/?taken-by=madarchitects Geoff Manaugh, author of BLGBLOG, visited the extremely Instagrammable Mirage by Douglas Aitken in the California Desert which is clad with mirrors both inside and out. https://www.instagram.com/p/BZ4WEW5j_M1/?taken-by=bldgblog The DesignPhiladelphia conference shared their city's redeveloped Navy Yards, landscaped by James Corner Field Operations. https://www.instagram.com/p/BZy-YJzF9WA/?taken-by=designphilly This last one is short and sweet, and we tell you this only because of the crushing guilt that would consume us otherwise. Winka Dubbeldam ate a grasshopper. https://www.instagram.com/p/BZ0lE02BVh9/?taken-by=winkadub That’s it for today, hashtag archilovers and quote-on-quote gallerinas. See you next week for more drama.
Get ready New York City, the month of Archtober is almost upon us. While October heralds the return of chunky knits and PSLs, New York City's architecture and design community knows that the tenth month of the year is really Archtober, AIA New York's celebration of the built environment. In collaboration with the city's cultural institutions, Archtober (also known as Architecture and Design Month) fosters awareness of architecture's role in everyday life through exhibitions, conferences, films, lectures, and the Building of the Day tours – architect-led visits to the city's best-loved structures and landscapes. The first site this year is the Woolworth Tower Residences, apartments by SLCE Architects in Cass Gilbert's classic neo-Gothic skyscraper. In partnership with AIA New York, The Architect's Newspaper (AN) is pleased to be the one-and-only source for Building of the Day blogs. For all of October, we'll bring you on-the-ground stories and tour highlights, so you can ride on WXY's SeaGlass Carousel, step inside LOT-EK's shipping container Carroll House, or explore Paul Rudolph's Modulightor Building, all without leaving your office. But if you do decide to leave (and you should), tickets for all tours are now available at the Archtober website. Here is the complete schedule:If your number-one-can't-miss tour is sold out, don't despair: There are more than enough events for everyone. Archtober has a new series called Workplace Wednesdays where firms like SHoP, Snøhetta, and others will open up their offices to ticketed members of the public for workshops, presentations, and talks. On October 29, AN Contributing Editor Sam Lubell will give a talk on Never Built New York, the exhibition he co-curated at the Queens Museum.
Oct. 1 The Woolworth Tower Residences Architect: Cass Gilbert (the Woolworth Building's original architect); SLCE Architects (Woolworth Tower Residences architect of record): SLCE Architects; The Office of Thierry W. Despont (interior design) Oct. 2 Empire Stores Architect: S9Architecture Oct. 3 Brooklyn Grange Rooftop Farm Architect: Bromley Caldari Architects Oct. 4 The Noguchi Museum Architect: Isamu Noguchi and Shoji Sadao (original architects); Sage and Coombe Architects (rneovation architect) Oct. 5 SeaGlass Carousel Architect: WXY architecture + urban design Oct. 6 Modulightor Building Architect: Paul Rudolph Oct. 7 Cary Leeds Center for Tennis & Learning Architect: GLUCK+ Oct. 8 Project Farmhouse Architect: ORE Design Oct. 9 The Residences at PS186 & Boys and Girls Club of Harlem Architect: Dattner Architects Oct. 10 Naval Cemetery Landscape Architect: Nelson Byrd Woltz Landscape Architects Oct. 11 Cathedral Church of St. John the Divine Architect: Heins & LaFarge/Cram & Ferguson (1899) Oct. 12 Alexander Hamilton U.S. Custom House Architect: Cass Gilbert Oct. 13 New Lab, Brooklyn Navy Yard Architect: Marvel Architects Oct. 14 Open House New York Weekend Oct. 15 Open House New York Weekend Oct. 16 iHeartMedia Architect: A+I with Beneville Studios Oct. 17 56 Leonard Street Architect: Herzog & De Meuron Oct. 18 Staten Island Courthouse, St. George Architect: Ennead Architects Oct. 19 Carroll House Architect: LOT-EK Oct. 20 Columbia University – Lenfest Center for the Arts Architect: Renzo Piano Building Workshop (design architect); Davis Brody Bond (executive architect); Body-Lawson Associates (associate architect) Oct. 21 Museum of Chinese in America (MOCA) Architect: Maya Lin Studio (Designer); Bialosky + Partners Architects Oct. 22 Freshkills Park Architect: NYC Parks/James Corner Field Operations Oct. 23 The George Washington Bridge Bus Station Architect: STV – Program Architect/Architect of Record/Design Architect for Retail Development; PANYNJ Architectural Unit – Design Architect for Bus Station Oct. 24 Governors Island – The Hills Architect: West 8 Urban Design & Landscape Architecture Oct. 25 Bronx River House Architect: Kiss + Cathcart, Architects Oct. 26 ISSUE Project Room Architect: McKim, Mead & White (original architect); Conversion to ISSUE Project Room: WORKac in collaboration with ARUP (ongoing) Oct. 27 Downtown Brooklyn Cultural District Architect: TEN Arquitectos Oct. 28 Morris Jumel Mansion Architect: Original Architect Unknown Oct. 29 Roy and Diana Vagelos Education Center Architect: Diller Scofidio + Renfro in collaboration with Gensler Oct. 30 Cornell Tech Architect: Handel Architects; Morphosis; WEISS/MANFREDI Architecture/Landscape/Urbanism Oct. 31 The William Vale Hotel Architect: Albo Liberis
While many architects moon over biennials and architecture festivals, these shows are often a bit esoteric for the general public. The Chicago Architecture Biennial (CAB) is no exception. Amidst the complex discussions and abstract installations, the average visitor may enjoy the show, but also feel a bit disconnected. However, there is one show at CAB that anyone would find accessible. Located in EXPO 72 across the street from the Chicago Cultural Center, the exhibition, Chicago Urban River Edges Ideas Lab, presents the visions of nine firms for the Chicago River. Chicago Urban River Edges Ideas Lab was initiated by the City of Chicago’s Department of Planning and Development and the Metropolitan Planning Council to solicit proposals for the city’s quickly evolving riverfront. Firms participating in the show include David Adjaye, James Corner Field Operations, Perkins + Will, Ross Barney Architects, Sasaki, Site Design, SOM, Studio Gang Architects, and SWA. Each firm addressed three sites along the river with designs that ranged from outdoor theater spaces to water remediation and ecological classrooms. Other ideas included policy suggestions, such as SWA’s forest bonus, rather than a density bonus. Multiple offices proposed ways of engaging more closely with the river itself, including James Corner Field Operation’s softened edge and Perkins+Will’s riverside beach. The three sections of the river addressed by the show are the Civic Opera House, the Congress Parkway, and the Air Line Bridge. Each of these sites present different challenges which the city hopes to resolve. While large stretches of the riverfront have already been converted into the Chicago Riverwalk, there are over 156 miles that have yet to be developed or connected with public walkways and activity spaces. The initial downtown stretch of redeveloped space was designed by Ross Barney Architects and Sasaki, and was completed earlier this year. The exhibition, which was also designed by Ross Barney Architects, aims to engage public feedback and present ambitious yet feasible visions of the river’s future. Throughout, large renderings with texts allow visitors to compare proposals side by side. Those interested are directed to the project's extensive website to watch interviews with the architects, watch animated shorts about the proposals, and send commentary to the city and designers. “We thought this would be a great way to bring together a bunch of very creative folks, as well as help Chicagoans begin to imagine how this could work and what their place in it would be,” explained Josh Ellis, vice president of Metropolitan Planning Council at the exhibition opening. While the exhibition is not intended to be a competition, it is clear that each of the offices poured resources and brain power into the project. The Department of Planning and Development as well as the Mayor’s office have been explicit in their search for ideas for the future of the river. “This is just a snapshot of how serious each of these teams took this. These are meant to be ideas that can be realized,” said Clare Cahan, studio design director at Studio Gang at the opening. “There are things that will be attractive to communities, attractive to the city, and attractive to developers.”