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Studio Gang Wins

AN Exclusive: Studio Gang beats out Michael Maltzan and Allied Works to design unified California College of the Arts campus
Chicago-based Studio Gang Architects (SGA) has been selected to design an expansion of the California College of the Arts (CCA) campus in San Francisco, beating out Michael Maltzan Architects and Allied Works for the prestigious commission. Over the next five years, CCA will work with SGA to develop a design for a comprehensive expansion of the existing arts campus to provide educational facilities for the college’s 2,000 students, 600 faculty members, 250 staff members, and 34 academic programs in San Francisco’s Mission Bay neighborhood. The expansion, outlined in the school’s Framing the Future visioning plan developed by Gensler and MKThink in 2015, will aim to absorb the school’s Oakland satellite campus as well as create on-site housing opportunities for students on a site adjacent to the existing San Francisco campus. In a press release announcing SGA’s selection, CCA Board Chair C. Diane Christensen commended the firm’s long list of ground-breaking educational projects, saying, “The selection process was extremely thorough, involving intense review and significant input from many constituencies. Studio Gang’s visionary work, commitment to innovation and sustainability, and collaborative work style makes the firm an excellent fit for this project and for CCA. Jeanne Gang leads an extraordinary team that is very familiar with San Francisco and our still-emerging neighborhood at the intersection of the city’s innovation corridor, the new DoReMi arts district, and Mission Bay. We are thrilled with the prospect of working with Studio Gang and have high hopes that our new campus will help redefine 21st-century arts education.” Studio Gang CCA Unified Campus from Architect's Newspaper on Vimeo. In the same press release, Jeanne Gang, founding principal at SGA, focused on intrinsic potential for the project to yield innovative educational synergies, remarking, “We are excited to discover with CCA the possibilities that a unified campus in San Francisco presents for the future of art teaching, learning, and making,” adding, “The site has enormous potential to build an expanded, increasingly connected campus for CCA in a newly thriving design district. We are looking forward to a creative and engaged design process to help CCA continue to change the world through dynamic arts education.”
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Studio Gang’s research-based approach to ecological design rethinks the shape of urban waterfronts

As Studio Gang gains respect as an office that builds formally and programmatically ambitious projects, one aspect in particular has helped the firm continue to be a major force: It is an office that does its homework. Every project that the studio does is accompanied by a body of research as well as collaborations with experts often outside of architecture. “As architects, we think of our role as being that of the translator,” explained Claire Cahan, design director at Studio Gang. “Early on in the project we bring in experts from interdisciplinary fields to discuss the past, present, and future conditions of a site. Our job is to ask questions and translate ideas between disciplines.” This becomes particularly visible in projects that involve water ecologies.

After a yearlong study in collaboration with the National Resources Defense Council (NRDC) and the Harvard Graduate School of Design (GSD), the studio released Reverse Effect (2011). The book explored urban and ecological implications of severing the link between the Chicago River and the Mississippi River, effectively reversing the flow of the Chicago River to its original direction (something that has actually happened three times). The book presented a new Chicago that embraced a reshaped river as part of its cultural and civic space.

“We’re interested in the intersection between built and natural environments,” said Cahan about the office’s broader vision and approach. “While building projects typically have distinct property lines and boundaries, natural systems often intersect with property lines in a fluid way. Through research, which includes conversation, mapping, and analysis, we seek to understand the natural, cultural, economic conditions far beyond a property line.”

A similar study, in collaboration with Milwaukee-based Applied Ecological Services and Edgewater Resources, looked at the 1,000-acre Milwaukee harbor. The Edge Effect master plan set out to establish a framework and logic for Milwaukee’s waterfront development. The master plan envisions relocating the current active inner harbor to a new outer harbor, while bringing the city to the water’s edge. The process would include softening the coastline to achieve a more complete and sustainable ecosystem by learning from stable natural coastlines and reefs. This concept is already being deployed in the Studio Gang–designed improvements to Chicago’s Northerly Island, which has a similar geographic situation.

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The "clear choice"

Herzog & de Meuron win commission to design Royal College of Art campus in south London
Swiss Pritzker Prize winning duo Herzog & de Meuron has been awarded commission to design the $136 million Battersea South campus at the Royal College of Arts (RCA) in London. The firm saw off proposals from Diller Scofidio + RenfroStudio Gang, and four other finalists to win the design competition that called for a "strategic design approach to a new centre for the world’s pre-eminent art and design university’s Battersea campus." The 161,460-square-foot scheme will accommodate design studios as well as space for engineering, science, and technology. The scheme aims to coalesce these disciplines as the RCA sets its sights on becoming a STEAM-focused graduate university (Science, Technology, Engineering, Art and Maths/Medicine). The school also wishes to turn its research and knowledge exchange centers into "the domains of computer and materials science, the impact of the digital economy, advanced manufacturing and intelligent mobility." Part of Herzog & De Meuron's design sees the inclusion of a "hangar" space, capable of housing large-scale works and projects as well as interior planting. Pierre de Meuron, co-founder of the Swiss studio, said the RCA had set a challenging brief. He added that the Battersea site in south London offered "an opportunity to rethink the RCA campus and establish the patterns of connectivity and organization that will make a successful building."
Chair of the Architectural Selection Panel (ASP) and RCA Rector Dr. Paul Thompson remarked that Herzog & de Meuron was the "clear choice of the competition jury." Before a final shortlist (listed below) was selected, the RCA had received interest from 97 studios across the globe. The RCA on their website said that Herzog & de Meuron's submission "demonstrated a deep understanding of the potential for Battersea, making new connections and foreseeing the possibilities for sustainable place-making." The six runners-up in the competition are listed alphabetically: Christian Kerez (Switzerland) Diller Scofidio + Renfro (USA) Lacaton & Vassal (France) Robbrecht en Daem (Belgium) Serie Architects (UK/Singapore) Studio Gang (USA)
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Weight of Words

Architects discuss the power (and limits) of architecture at new Chicago Design Museum exhibit
A new show at the Chicago Design Museum (ChiDM) questions the role of architecture through interviews and conversations. Displayed through text, audio recordings, images, and projections, City of Ideas: Architects’ Voices and Visions includes interviews with architects from around the world, from Jeanne Gang to Kengo Kuma. The show particularly asks questions such as, “Can architecture and design solve social and environmental problems? Where and how does the value of individual expression and vision meet the need for collaboration and teamwork?” Visitors to the exhibition are encouraged to join the conversation through a series of events and talks. A stage at the center of the show’s space will be used for presentations and performances by the Chicago Architecture Foundation, the Poetry Foundation, along with other Chicago-area partners. "Chicago is home to a number of very original voices in architecture... I hope City of Ideas will contribute to the overall professional discourse and spark new interpretations and visions for what architecture could be,” said Belogolovsky in a press release. “One of the featured voices gathered here from all over the world is Jeanne Gang, a local force behind reinventing our preconceptions about the discipline. I am going to Chicago with an open mind and I look forward to learning about what visitors will make of this provocation." Before coming to Chicago City of Ideas: Architects’ Voices and Visions was on show at the Tin Sheds Gallery at the University of Sydney, Australia. Each iteration of the show will present ever changing content, displayed in new ways through collaborations with local artists and designers. City of Ideas: Architects’ Voices and Visions, curated by architect and writer Vladimir Belogolovsky, will be on show through February 25, 2017. The Chicago Design Museum is located on the third floor of Block Thirty Seven, 108 N. State St. in downtown Chicago. Founded in 2012, the museum was envisioned as a space to bring together Chicago’s large design and architecture community. Until it opened, Chicago lacked any permanent institution to specifically exhibit contemporary design.
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Picture Perfect

Studio Gang fuses storage and display in their design for a traveling photography exhibition
Studio Gang Architects, working with art advocate Project&, have produced a traveling photography exhibition that highlights the stories and photographs of 24 American workers. Studio Gang produced 18 modular display cases which double as the show’s shipping containers. The show, entitled Working in America, features the work of Pulitzer-Prize winning photographer Lynsey Addario. The opening of the show corresponds with the anniversary of Studs Terkel’s 1974 book Working, which explored similar themes. The show consists of stories and images from across the country. Studio Gang’s design features seven-foot-tall display cases that can be locked together in sets of three. These cases were developed for ease of transportation and the ability to show in difficult situations. This was important as the show will be traveling through the United States on display at public libraries. Exhibiting in libraries presents a special challenge, in that work can be displayed on the walls. “I envisioned self-crating steamer trunks that held an entire world inside, and when opened, revealed the large-scale photographs and the working lives of Americans, putting their voices and narratives at the center,” explained Jane M. Saks, the show's curator. “The team from Studio Gang not only turned that vision into a reality, but they designed the displays so that they lock together and literally hold each other up. The design is elegant and almost poetic in the way it speaks to our interdependence as workers and human beings, and the strength of all of us when we join together.” The cases are built of Baltic Birch plywood and vegetable-tanned leather for the handles. “We wanted to give visual space and dignity to each of the individuals represented in the photographs,” said Jeanne Gang. Studio Gang’s experience with exhibition design includes shows for the Art Institute of Chicago, Art Basel Miami, and the Chicago Architecture Biennial. Working in America is currently on display at Chicago’s Harold Washington Library Center, and will run through the end of January.
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$326 million

Studio Gang and OMA among architects competing to redesign Tour Montparnasse in Paris
A list of seven firms (three French and four international) have been selected by the Ensemble Immobilier Tour Maine-Montparnasse (EITMM) as part of the second round of a competition to redesign the much-maligned Montparnasse Tower in Paris. Built in 1973, the 690-foot (59 story) high-rise has been the regular subject of scorn from Parisians and architects alike. Now Dutch studio OMA; British practice, PLP; French architect Dominique Perrault, and Chicago firm Studio Gang among others are in the running to take on the tower's redesign. Known as the Tour Montparnasse, the building changed city planning policy after its completion 33 years ago. Buildings in the French capital were banned from rising above seven stories two years after it was constructed, a policy that has allowed the skyscraper to remain as Paris's tallest building. The full list of firms vying to re-imagine the tower can be found below: The list of seven came from a list of more than 700 firms that entered the first phase of EITMM's competition. In a press release, one stakeholder said the seven agencies were selected for their "reliability, expertise, audacity and their understanding of the challenges we face." Now the competition has briefed the chosen seven with submitting a proposal that will supply a "powerful, innovative, dynamic and ambitious new identity to the famous Parisian landmark, whilst integrating the challenges of usage, comfort and energy performance to the highest levels." These proposals are due in March 2017. The competition's third stage will see this list whittled down to two finalists from which a winner will be announced in July next year. The project is due to cost $326 million with one-third of this being privately financed by Tour Montparnasse's co-owners. Construction is set to start in 2019, being completed by 2023. Jean-Louis Missika, deputy to the Mayor of Paris, in charge of urban planning, architecture and economic development for the Greater Paris project, said: "We are delighted with this varied and audacious selection of architects which promises a great diversity of ideas, approaches, and innovations for the transformation of the Montparnasse Tower, the initial stage in the renovation of the whole area."
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Creative Campus Life

Allied Works, Michael Maltzan, and Studio Gang compete for California College of the Arts campus design
Allied Works Architecture (AWA), Michael Maltzan Architects (MMA), and Studio Gang Architects (SGA) have been selected as finalists to design a new campus for California College of the Arts (CCA). The architects are vying to design a new extension to the school’s San Francisco campus that would unify the institute’s 2,000 students, 600 faculty, 250 staff members and 34 academic programs on one site. Currently, CCA’s students and programs are split between a campus in San Francisco and one in nearby Oakland, California. The new campus expansion would grow on a 2.4-acre lot bordering the existing facilities in San Francisco and would be developed over the following five years. The project also aims to address San Francisco’s housing crisis by supplying roughly 1,000 beds of on- or near-campus housing by 2025, a healthy increase over the 500 currently available beds split between the two existing campuses. The expansion will have a heavy emphasis on sustainable design practices, with the college citing the inclusion of sustainability strategies for water and energy generation, usage, and conservation, air quality, and environmentally safe art-making materials and practices as central tenets of the expansion. CCA will also engage in an effort to preserve the school’s current Oakland campus, which dates back to 1922. The university aims to redevelop that property, the historic Treadwell Estate, in a way that might “reflect and amplify CCA's legacy,” including, potentially, some sort of “mission-aligned” use like affordable housing or as the location of an educational institution. The planned expansion comes after several years of architect-guided planning at CCA, with architectural firms Gensler and MKThink producing a strategic framework for planning for the campus in 2015 that was followed by year-long comment period seeking to engage professors and students, alumni, and trustees. Following the comment period, San Francisco—based Jensen Architects created a space-planning guide from the Gensler and MKThink report that was then used to vet potential architecture firms, with the resulting selection of AWA, MMA, and SGA indicating the school is ready to move onto the next phase of fielding proposals from each team. In a press release announcing the finalists’ selection, CCA President Stephen Beal stated, “This is the moment for CCA to elevate and scale our distinctive, learn-through-making educational model by unifying our campuses to improve the student experience. We will develop future creative leaders and reimagine higher education on a campus like no other—one built with advanced measures of sustainability where every workspace, public space, and landscape serves as a living, learning laboratory for collaboration, risk-taking, and experimentation. We are looking forward to finding a partner architectural firm that can help us realize this vision.”
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Design and Construction Excellence 2.0

DDC picks 26 firms to design New York’s new public buildings
Today the New York City Department of Design and Construction (DDC) announced the latest round of local firms pre-qualified to design public projects in the five boroughs. Through the Design and Construction Excellence 2.0 Program, the 26 firms will have exclusive access to respond to Requests for Proposals (RFPs) through 2019 for projects with an estimated cost of $50 million or less. The program, founded in 2005, is designed to reduce the time it takes for the agency to procure design services: Once selected, firms can submit "mini-proposals" for public buildings, additions and renovations, parks, and plazas that are then evaluated and selected by committee for construction.  The program's recent projects include Snøhetta's Times Square pedestrian plaza, Dattner and WXY's Spring Street Salt Shed, Studio Gang's Brooklyn firehouse and training facility, and BIG's police station in the Bronx. Firms from the last round of the program (2013-2016) worked on 53 DDC projects and billed more than $26 million in design fees. “By promoting quality design, we can improve our city’s long-term resilience and sustainability, enhance access, mobility and public services, and contribute to the unique character and rich culture that make New York special,” said Public Design Commission executive director Justin Garrett Moore, in a statement. “For over a decade, the DDC's Design and Construction Excellence Program has been one of the City's best tools to deliver quality public projects. This new round of DCE 2.0 firms builds on that legacy and reflects the diversity, creativity, and expertise that we need to help build our City and improve the quality of life in neighborhoods throughout our five boroughs.” Nine of the firms selected for this round are owned by women or people of color. In fiscal year 2015, the DDC gave one-third of its contracts—valued at $242 million—to Minority- or Women-owned Business Enterprises (MWBEs), part of the mayor's goal to award 30 percent of all city contracts (in dollars) to MWBEs. This year's list, below, is divided into four categories based on company size, and includes 12 prior participating firms:   Micro firms (1 to 5 professional staff, eligible for projects projected to cost up to $5 million) Small firms (6 to 20 professional staff, eligible for projects projected to cost $2 to $15 million) Medium firms (21 to 50 professional staff, eligible for projects projected to cost $10 to $35 million) Large firms (Over 50 professional staff, eligible for projects projected to cost $25 to $50 million)
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Relational Water Landscapes

From drought to deluge, survival to decadence, water is shaping our cities and landscapes

For landscape architects today, urbanism and water go hand in hand. Whether dealing with issues of sea level rise, groundwater retention, or just plain old water supply infrastructure, landscape architects are working with scientists, engineers, and policy makers on increasingly bigger projects that encompass more external factors and larger networks of physical, biological, environmental, and political networks. We examine some of these water landscapes and how they relate to each other in the broader context of how resources and climate-related changes are being managed.

To put these projects in perspective, we have positioned them on a grid: The x-axis runs from “not enough” to “too much” water and the y-axis posits these projects as either being rooted in necessity or decadence. Within this grid, we found a surprising variety of combinations.

Here we've posted all our water-related articles from this issue. Enjoy!

Feature Stories

Alaska's Relocation — One remote Alaska city is seeking $200 million to flee the rising sea

Lexington's Groundwater — SCAPE turns Lexington, Kentucky’s long-buried water into an asset

L.A.'s River — L.A. River revitalization takes center stage in public eye (and real estate development)

Istanbul's New Islands — A coterie of artificial islands and high-rises planned to rise near Istanbul

Miami's Flooding — Miami battles rising floodwaters even as development booms

Chicago's Runoff — Chicago digs deep to fight flooding, but the city’s geology may provide another solution

Waco's Water Grid — Texas planners envision a county-wide “grid” to provide clean water during droughts

China's Archipelago — This master plan calls for a brand new city to alleviate China’s water issues

UrbanLab is combining water infrastructure with architecture to reimagine how cities work

L.A.'s Reservoir — What will Angelenos do with a decommissioned, 45-foot-deep reservoir?

Milwaukee's Harbor — Studio Gang’s research-based approach to ecological design rethinks the shape of urban waterfronts

Massachusett's Ports — The plan to combine fishing, tourism, and the waterfront to invigorate a New England city

Wisconsin's Lake Straw — A controversial decision will allow a Wisconsin city to draw water out of Lake Michigan

Water-Related News (also from the October issue)

A new proposal would turn a stagnant abandoned Chicago waterway into a community amenity

Seattle’s waterfront transformation by James Corner Field Operations prepares to break ground this year

Chicago and Philadelphia–based PORT Urbanism wants to redesign your city

"Landscape as Necessity" conference aims to broaden the role of landscape architects

Has "resiliency" been hijacked to justify and promote development?

This landscape architecture firm is bringing Dutch water expertise to the U.S.

Detroit engages with its community to solve its raw sewage and storm water problem

A team of landscape architects, geneticists, and bioinformaticians are trawling the Gowanus Canal for science

One landscape architect's plan to fuse Dallas–Fort Worth’s waterways with urban growth

Landscape architects face crossroads to address shrinking ecological resources

A grassroots organization starts an environmental movement in Iowa City

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Divine Details

AIA Chicago announces 2016 Design Excellence Awards
The Chicago chapter of the AIA (AIA Chicago) has announced its annual Design Excellence Awards. The 2016 recipients were honored at Designnight 2016, the chapter’s largest annual event, with over 1,000 attendees from Chicago’s architecture and architecture-related fields. The Design Excellence Awards are divided into four categories: Distinguished Building, Divine Detail, Regional & Urban Design, and Interior Architecture. Each category has its own jury, who choose from hundreds of entries. Each category is divided into three levels of awards: Honor Award, Citation of Merit, and Special Recognition. This year a Lifetime Achievement award was also presented to Ron Krueck, FAIA and co-founder of Chicago-based firm Krueck + Sexton Architects. This year’s Honor Award recipients included firms large and small. The top award for Regional & Urban Design went to UrbanLab for its Changde City Master Plan, in Changde, China. SOM and Adrian Smith + Gorden Gill Architecture took Citations of Merit for projects in Sydney, Australia, and Pullman, Chicago. Multiple Honor Awards were given for the Divine Detail Award, with Studio Gang taking home two awards in the category for its Writers Theater in Glencoe, Illinois and City Hyde Park on Chicago’s South Side. Krueck + Sexton Architects, John Ronan Architects, and Optima DCHGlobal, Inc. were also presented with Honor Awards in the category. Studio Gang’s Writers Theater was also an Honor Award winner in the Interior Architecture category, joined by Woodhouse Tinucci Architects and von Weise Associates. The most coveted awards of the night, the Distinguished Building Awards, was given for four projects. Optima Sonoran Village by David Hovey & Associates Architect, Inc., in Scottsdale, Arizona, was honored, notably for its facade, which integrates a vertical landscape system. JAHN took home an Honor Award for its Doha Convention Center, located in Doha, Qatar. Perkins+Will’s Case Western Reserve University/Tinkham Veale University Center, and Sasaki and  Ross Barney Architects’s Chicago Riverwalk were also honored.
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Gilder Center

Studio Gang’s AMNH expansion gets the green light from Landmarks Preservation Commission
Today the Landmarks Preservation Commission (LPC) unanimously approved plans for a major expansion to the American Museum of Natural History (AMNH) in New York. In almost 90 pages of presentation materials, representatives from Studio Gang, preservation consultants Higgins Quasebarth & Partners, and landscape architects Reed Hilderbrand demonstrated to the commission and the public how they would demolish three museum buildings constructed between 1874 and 1935 to make way for the Richard Gilder Center for Science, Education, and Innovation. In a radical but elegant departure from AMNH's mélange of Victorian gothic, Beaux Arts, Richardson Romanesque, and contemporary buildings, the 195,000-square-foot Gilder Center, inside and out, takes formal cues from geological strata, glacier-gouged caves, curving canyons, and blocks of glacial ice. "Sleekness was never a goal—we wanted a richness of texture," explained Studio Gang design principal Wes Walker, in a pre-meeting model walkthrough with The Architect's Newspaper (AN). The pink Milford granite the designers intend to use for the facade is the same stone used for Theodore Roosevelt Memorial Hall, the museum's main entrance on Central Park West. The Gilder Center granite will be sliced into two- and three-inch-thick bricks and arranged in diagonal bands on the facade to create the attractive variation that's produced by ornament on the neighboring 19th-century buildings. Bill Higgins (of Higgins Quasebarth) and Jeanne Gang detailed how the unconventional form will fit in with—and enhance—those buildings: The original, aggressively rectilinear master plan calls for architectural focal points on each of the museum's main facades. The angular forms are complemented by a playful, curvilinear landscape—plans show undulating paths that flank the imposing buildings. The rectangle/curve relationship remains at the Teddy Roosevelt entrance, and the Gilder Center, directly across the complex, extends and amplifies historic precedent—"[it's] an insertion into the historic fabric," said Gang. For AMNH, the new building is both an addition and connective tissue that bridges disparate programs. Museum president Ellen Futter explained that her institution needs to expand to accommodate five million annual visitors: Though its classroom and exhibition space will augment the museum's offerings, the Gilder Center is also a switchboard, connecting ten buildings at 30 different points. Inside and out, transparency and accessibility define the design. Vertical glazing on the facade lets visitors see deep into the structure, like looking into a fjord. Where the museums of past centuries defined their monumentality with great granite steps, the Gilder Center's no-step entrance allows for seamless access for people with mobility impairments or strollers. The addition will also open up sightlines to Building One, AMNH's first structure, via a passageway and additional gallery space. Manhattan borough president Gale Brewer, councilperson Helen Rosenthal's office, AIA New York, the Van Alen Institute, and the Columbus Avenue BID spoke in support of the addition, but preservation and neighborhood parks groups were not as bullish on the project. The Historic Districts Council (HDC), while offering that the Gilder Center "defers sensitively" to existing buildings, questioned the facade detailing and expressed concern about the building's exposed interior. The structural concrete columns that define the main space, HDC claims, are not clad in the same quality material as the facade. The group suggested Studio Gang refine the design further. Residents and members of park preservation groups spoke out against the Gilder Center because it encroaches on Theodore Roosevelt Park, and its construction requires the removal of seven mature trees. In response, Reed Hildebrand divided the layout into slow and fast programs—slow, or passive recreational activity will be directed away from the Gilder Center entrance, a meandering paved walkway shaded by (new) trees and curving flower beds. 80 percent of the addition will occupy the museum's existing footprint, and less than two percent of the 10-acre park will be sacrificed to AMNH. Noting the designers' willingness to adjust their designs in response to community concerns, the commissioners offered additional suggestions. Chair Meenakshi Srinivasan said that the cultural aspect of the museum was often absent from the conversation around the design, while other members suggested that the architects reconsider the stucco planned for a northern exterior wall. Commissioner Frederick Bland, an architect, noted that the essence of AMNH is its "excellent" architecture that has accrued on the site over time. He praised the design team's vision and level of detailing, adding that at this stage it can be dangerous to intrude on the details of another architects' design vocabulary. "Very seldom do you see a design this soaring and open," said commissioner Wellington Chen. "It's a stunning piece of architecture—the commission can be proud in approving the project," said Srinivasan. After hours of tension, a palpable wave of relief emanated from the assembled architects. After the LPC's vote, a smiling Jeanne Gang told AN that her team had to move the modeling and detailing much farther along than usual for this round of approvals. "We had to make the parametric model way ahead to figure out the coursing and interfaces with the masonry," she said. Next, the Gilder Center moves onto design development and through the Environmental Impact Statement (EIS) process towards an expected groundbreaking next year.
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Are We Human?

2016 Istanbul Biennial announces participants and projects
The 3rd Istanbul Design Biennial has announced its participants and project titles. More than 70 projects are being produced for the exhibition entitled ARE WE HUMAN? : The Design of the Species: 2 seconds, 2 days, 2 years, 200 years, 200,000 years. Organized by the Istanbul Foundation for Culture and Arts (İKSV), Beatriz Colomina and Mark Wigley are curating the show that will include “designers, architects, artists, theorists, choreographers, filmmakers, historians, archaeologists, scientists, labs, centers, institutes and NGOs.” The biennial will run from October 22nd through November 20th at five sites throughout the city of Istanbul. These venues include the Galata Greek Primary School, Studio-X Istanbul, Depo in Karaköy, Alt Art Space in Bomonti, and Istanbul Archaeological Museums in Sultanahmet. The work will also be divided into four “Clouds.” Themes for these “Clouds” are Designing the Body, Designing the Planet, Designing Life, and Designing Time. Each of them takes a look at the changing relationship of design and the world around us. The show will also include six curatorial interventions lead by Colomina and Wigley. The interventions are the work of Princeton and Columbia students who have been working in seminars for the past year. The interventions will be installed in the exhibition with the other participants' works. The range of participants, from five continents, range from individual practices to well-established design firms. The projects and the participants include: The Shepherd, Bager Akbay (Turkey) Mutant Space, Atif Akin (Turkey) Observer Affect / Observer Effect, Zeynep Çelik Alexander (Turkey), Vanessa Heddle, Elliott Sturtevant (Canada) Mixed Being, Lucia Allais (United Kingdom/Italy) Archaeology of Things Larger than Earth, Pedro Alonso & Hugo Palmarola (Chile) Milano Animal City, Stefano Boeri (Italy) Window Behaviorology, Atelier Bow-Wow / Yoshiharu Tsukamoto Lab. at Tokyo Institute of Technology / YKK AP Window Research Institute (Japan) Space Design by Galina Balashova, Galina Balashova (Russia), Philipp Meuser (Germany)  Fictional Humanisms: A Critical Reportage, Marco Brizzi & Davide Rapp (Italy) 1 Brain, 100 Billion Neurons, 100 Trillion connections, Brown Institute for Media Innovation, Center for Spatial Research with the Zuckerman Institute, Columbia University (USA) Texas City Landscan, Center for Land Use Interpretation (USA) Conflict Urbanism: Aleppo, Laura Kurgan (South Africa/USA) and the Center for Spatial Research (USA) The Immortal, Revital Cohen (United Kingdom), Tuur Van Balen (Belgium) Going Fluid: The Cosmetic Protocols of Gangnam, Common Accounts, Igor Bragado (Spain), Miles Gertler (Canada) Art Fiction, François Dallegret (Canada) Human Treasure, Tacita Dean (United Kingdom) Kontrollraum / Control Room, Thomas Demand (Germany) Unspoken, Diller Scofidio + Renfro (USA) World Brain: Automatism, Stéphane Dougoutin (France), Gwenola Wagon (Canada) The Unstable Object (II), Daniel Eisenberg (USA) You will not be able to do it, Keller Easterling (USA) The Designer Designed by the Humans, estudio Herreros (Spain) Portable Indo Pacific, Fake Industries Architectural Agonism and UTS (Spain/Australia) A Natural History of Human Rights, Forensic Architecture in collaboration with FIBAR: Baltasar Garzón, m7red and Irendra Radjawali (United Kingdom/Spain/Brazil/Argentina) City of Abstracts and Lectures from Improvisation Technologies, William Forsythe (Germany/USA) The Breaking Point, or The Paradox of Origins, Anselm Franke (Germany) Welcome to the Anthropocene, Globaïa (Canada) Space Debris 1957-2016, Stuart Grey (United Kingdom) 5TH HELENA, Mathew Hale (United Kingdom) 51Sprints, Het Nieuwe Instituut (Netherlands) City of 7 Billion, Joyce Hsiang, Bimal Mendis (USA) MUSSELxCHOIR, Natalie Jeremijenko (Australia) GUINEA PIGS; A Minor History of Engineered Man, Lydia Kallipoliti, Andreas Theodoridis (Greece/USA) Anatomy and Safe, Ali Kazma (Turkey) “It is obvious from the map,” Thomas Keenan (USA) and Sohrab Mohebbi (Iran), with Charles Heller (USA) and Lorenzo Pezzani (Italy) Embodied Computation, Axel Kilian (Germany) The Perfect Human, Jørgen Leth (Denmark) The Anthropophagic Body and the City: Flavio de Carvalho, Jose Lirá (Brazil) Open Future, The Living / Sculpting Evolution Group, MIT Media Lab (USA) Maropeng Acts I & II, Lesley Lokko (Ghana) Memex, Marshmallow Laser Feast, Analog, FBFX, Duologue (United Kingdom) Köçek Dance Floor, m-a-u-s-e-r (Germany/Turkey) Glitter Disaster, McEwen Studio (USA) The Institute of Isolation, Lucy McRae in collaboration with Lotje Sodderland (United Kingdom) Ines-table, Enric Miralles (Spain) & Benedetta Tagliabue (Italy) Manchas Mies, Domi Mora (Spain) An Unfinished Encyclopedia of Scale Figures Without Architecture / Model Furniture, MOS Architects (USA) Architektur / Räume / Gesten, Antoni Muntadas (Spain) Nine Islands: Matters Around Architecture, NEMESTUDIO, Neyran Turan & Mete Sonmez (Turkey) Please let me go, away…, New Territories / M4 with Pierre Huyghe (Thailand/France) Frederick Kiesler’s Magic Architecture: Caves, Animals, and Tools from the Prehistoric to the Atomic Era, Spyros Papapetros (Greece) A Media Archaeology of Ingenious Designs, Jussi Parikka (Finland), Ayhan Ayteş (Turkey) Objects of Daydreaming, PATTU, Cem Kozar, Işıl Ünal (Turkey) South Africa on the Cusp of Revolution, Martha Rosler (USA) Beirut Bombastic!, Rana Salam (Lebanon) White on White, Alfredo Thiermann & Ariel Bustamante (Chile) Spidernauts… Dark webs…,  Tomás Saraceno (Argentina) The Connectome: A New Dimension of Humanity, Seung Lab, H. Sebastion Seung & Amie R. Sterling (USA) The Visit, SO? (Turkey) Autonomy of Images, Hito Steyerl (Germany) Portable Person, Studio Works (USA) Archaeology of Violence (The Forest as Design), Paulo Tavares (Brazil) & Armin Linke (Germany) The Microbial Design Studio: 30-day Simit Diet, Orkan Telhan (Turkey) Museum of Oil—Deep Space and After Fire Territorial Agency (Italy/Finland/United Kingdom) Voyager—Humanity in Interstellar Space, Universal Space Program, Evangelos Kotsioris (Greece) and Rutger Huiberts (Netherlands) The Hand—The Whole Man in Miniature, Madelon Vriesendrop (Netherlands) Detox USA, Mark Wasiuta (Canada), Florencia Alvarez (Argentina) Information Fall-Out: Buckminster Fuller’s World Game, Mark Wasiuta (Canada), Adam Bandler (USA) Delusional Mandala, Lu Yang (China) Virtual Interior Istanbul, Annett Zinsmeister (Germany)