Search results for "tag frank gehry"

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Museum Miles

Gluckman Tang reveals Heritage Park master plan linking Gehry and Nouvel designs
New York-based Gluckman Tang Architects has released their master plan for Western Gateway Heritage State Park (Heritage Park), an integral piece of the larger redevelopment in North Adams, Massachusetts. The proposal links the Massachusetts Museum of Contemporary Art (MASS MoCA), the restored waterfront, Main Street, and the site of Frank Gehry's future Extreme Model Railroad Museum (EMRCAM). The project is part of a larger "cultural corridor" that ultimately hopes to bring the Bilbao effect to this corner of Massachusetts. The plan breaks up Heritage Park into three distinct plazas connected by walking paths. Each area revitalizes the historic industrial buildings within while better connecting to other parts of the city. The North Plaza will contain a new amphitheater, while the Central Plaza will hold a grove of birch trees and outdoor seating. The South Plaza will help orient visitors to Gehry's railroad museum. Originally slated for a 14,000-square-foot, 19th century warehouse inside the park, the Gluckman Tang-designed EMRCAM was scrapped for a 75,000-square-foot Gehry design elsewhere. Featuring architectural dioramas by Gehry himself and Zaha Hadid, the new museum will be located across the street from the MASS MoCA. Gluckman Tang will be converting the original park building into a Museum of Time and add another 6,000 square feet, a glazed entryway and a steep butterfly roof. Other than the museum, Gluckman Tang has also proposed converting a 3,250-square-foot coal hopper into a distilling hall, complete with a new 4,000-square-foot retail space and tasting room. “In addition to improving the experience for visitors to North Adams, our master plan will enhance the central role of the city in the Cultural Corridor and its anchor institutions, the Massachusetts Museum of Contemporary Art (Mass MoCA) and The Clark Art Institute,” said Gluckman Tang principal Richard Gluckman. One question left unanswered is how Jean Nouvel will factor into the evolution of North Adams. The French architect was reportedly in consideration to master plan the city as of last year, but news of his involvement has been scant since then. Leading the redevelopment initiative and museum complex is Thomas Krens, former director of the Guggenheim Foundation. Krens has a storied history with Nouvel, and it seems the architect’s ideas will make it into the master plan in one way or another.
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YOLA Center

Gehry to design new home for L.A. Philharmonic Youth Orchestra
To celebrate the Los Angeles Philharmonic’s centennial, the organization has announced that Frank Gehry—famed architect and designer of the Walt Disney Concert Hall, where the philharmonic performs its winter time showcases—will design a new permanent home for the Youth Orchestra of Los Angeles (YOLA) in Inglewood, California. For the project, Gehry will transform a 17,000-square-foot structure into a new community center and music academy. The facility, named in honor of donors Judith and Thomas L. Beckman, is expected to serve up to 500 aspiring music students from throughout the Los Angeles area, including the South L.A., Rampart District, Westlake/MacArthur Park, and East L.A. neighborhoods, according to a press release issued by the Philharmonic. The complex will contain rehearsal and educational spaces as well as a performance venue for the youth orchestra. YOLA currently serves over 1,000 students across the region and is conducted in partnership with EXPO Center, Harmony Project, Heart of Los Angeles, and Camino Nuevo Charter Academy. Gustavo Dudamel, director of the L.A. Philharmonic, said in a statement, “The Beckmen Center will take [our] core beliefs … and turn them into something tangible for the children of L.A. and help ensure a brighter future for them and for all of us.” Dudamel added, “We commit ourselves as an organization to a better life for our inheritors—[this] amazing facility will ensure that.” In the same statement, Gehry added, “The L.A. Philharmonic is the first orchestra anywhere to take such an enormous step for the future of its community. Thanks to the time I’ve spent with [Dudamel], I’ve seen the difference that YOLA makes in young people’s lives. I’m proud to play my part by making spaces where the kids can feel inspired, and YOLA can open up the whole world of music to them.” Designs for the structure have not yet been released, but it is expected to open by 2022.
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Desert Oasis

Jean Nouvel’s Louvre Abu Dhabi opens to the public after a decade
After more than four years of construction, Jean Nouvel’s Louvre Abu Dhabi will finally open to the public on November 11. Images of the ambitious project, spanned by a 262-foot latticed, double-skinned dome, have been released for the first time ahead of the full opening. Joining Frank Gehry’s troubled Guggenheim Abu Dhabi and museum projects by Zaha Hadid, Tadao Ando and other big name studios, Nouvel’s Louvre is the first completed building on the Saadiyat Island Cultural District. The French architect expressed hope that the museum, sited on the wetland island’s coast, would pay respect to the surrounding environment as well as the cultural history of both France and the United Arab Emirates (UAE). “The Louvre Abu Dhabi becomes the final destination of an urban promenade, a garden on the coast, a cool haven, a shelter of light during the day and evening, its aesthetic consistent with its role as a sanctuary for the most precious works of art,” said Nouvel. Referencing Arab architectural traditions, the project’s radiating dome is composed of nearly 8,000 interlocking metal octagons layered over each other to form a perforated shading system. Shading visitors during the day and shining from below at night, Nouvel called the roof “an oasis of light.” Protected from the elements, the public spaces below will host a rotating selection of pieces specifically commissioned for the museum. Layering patterned partitions is nothing new for Nouvel, whose Burj Doha in Qatar similarly took advantage of the mashrabiya, an Islamic screen designed to keep occupants cool during the summer months. The galleries themselves are a collection of squat, white cubic volumes with ceiling heights that vary from room to room and an irregularly-spaced paneling design that permeates inside to the display areas. This “museum city” totals 23 gallery spaces across 6,400 square meters (21,000 square feet), as well as a children’s museum, auditorium, restaurant and merchandise shops. The floor tiling calls back to Ottoman-era mosaic design, including a “stone carpet” in one of the gallery spaces. The museum's first exhibition, From One Louvre to Another: Opening a Museum for Everyone, will open on December 21st and display 18th century artwork from the opening of the original Musée du Louvre in Paris alongside modern pieces.
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Up the Creek

Gehry says transformation of L.A. River into a green oasis will "never happen"
At the recent Urban Land Institute (ULI) Fall Meeting in Los Angeles, architect Frank Gehry made surprising remarks concerning the future of the Los Angeles River in a wide-ranging interview with Frances Anderton, host of KCRW's DnA: Design and Architecture. During the discussion, Gehry told Anderton, “You can’t build habitat and you can’t build space for recreation in the river,” meaning the removal of the river’s concrete-lined bottom. He emphasized his statement, adding, “I can tell you it will never happen,” before explaining that removing the concrete lining at the bottom of the river—as has already been done along a three-mile-long section surrounding Griffith Park—would drastically reduce the channel’s ability to safely carry away storm waters from L.A.’s periodic downpours. Gehry explained that removing the concrete would only be possible if the channel itself was made much wider, saying, “If there’s grass at [at the river’s bottom] you’d need to make the river seven times wider.” Gehry pointed to the Army Corp’s analysis, which is focused predominantly on the channel’s ability to handle massive storm surges, as the main reasoning for this statement. The comments cast doubt on the ever-growing list of L.A. River-related restoration that see ecological and recreational use as being central to the future of the river. Up and down the length of the 51-mile-long river, various local agencies, landscape architecture, and architecture firms are working on proposals envisioning a lush, socially-activated river. At least three new bridges are in the work, as well as several new housing developments, parks and even, a plan to bring 36,000 housing units to areas surrounding the river. Gehry’s comments raise the question—Is L.A.River in danger of finding itself up the creek without a paddle?
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London Calling

Diller Scofidio + Renfro announced as designers of London's Centre For Music
Diller Scofidio + Renfro have bested a shortlist that included Frank Gehry, Renzo Piano, Snøhetta and Foster + Partners, winning the commission to design the Centre For Music, the new home for the London Symphony Orchestra and the Guildhall School of Music and Drama.  The Centre will be located near the Barbican complex in the City of London (where the Symphony currently performs), on a site now occupied by the Museum of London—which will move to a new home a half-mile west in West Smithfield. The Brutalist museum was designed in 1976 by Philip Powell and Hidalgo Moya, 1974 winners of the Royal Gold Medal For Architecture. DS+R's Centre is set to contain a concert hall with up to 2,000 seats, as well as classrooms and training spaces. Its cost, which reports estimate at between £200 and £250 million, is to be funded largely through private donations, although the City of London earlier this year chipped in £2.5 million for a business plan. Explaining their choice in a statement, the Centre's architect selection panel said they felt DS+R "most clearly met the vision and ambition of this project, utilising their experience of creating inspiring new spaces for culture to present a proposal that delivers a world-class concert hall in an outstanding new building, as part of the re-imagination of a key area of the City of London within Culture Mile.” Other members of the design team will include Buro Happold (civil and structural engineer and building services engineer), Nagata Acoustics (acoustician), Charcoalblue (theater consultant), and AECOM (cost consultant). According to DS+R, a concept design will be submitted to the City of London Corporation by December 2018. The building will not just be a permanent home for the London Symphony, but will also host performances from the Barbican's family of orchestras and ensembles and from touring orchestras and artists. It will be a vital piece of The City's "Culture Mile," a conglomeration of nearby arts facilities also including the Barbican, Milton Court Concert Hall, and more.
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Instagram Eavesdrop

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.
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London Calling

This is Britain's ugliest building of the year
"A hideous mess," "crass," "over-scaled," "[an] assault on all your senses from the moment you leave the Tube station." The judges were unsparing in their criticism of PLP Architecture's new London development, the Nova Victoria, which emerged the winner of the Carbuncle Cup, architecture's least wanted trophy. This is the sixth year in a row a London project has been crowned Carbuncle-of-the-year, annually awarded by Building Design (BD) a British architecture publication for the ugliest building to have been completed in the U.K. over the previous year. Among the six firms nominated for this year's Carbuncle Cup in the U.K., the largest studio, London-based PLP Architecture, walked away with the prize. Situated in the heart of London, PLP's Nova Victoria is one of the first set of structures people see when exiting Victoria Railway Station. And the sight that welcomes those unfortunate commuters, if they can see past the ongoing construction work, is a gargantuan up-turned arrowhead that is as red as the architects' faces might be today. Lee Polisano, president at PLP, told The Guardian that the building's color "is a reference to Victoria being an important transport interchange, so we chose a color that’s synonymous with transport in London." The developer behind Nova Victoria is Land Securities (LandSec) and this project is their second worthy of the Carbuncle Cup. Rafael Viñoly’s car-melting Walkie-Talkie building was the first in 2015. Nova, LandSec's most recent architectural clunker, houses offices, restaurants, and 170 apartments starting at $940,000. The $500 million project is described on its own website as "ultra-modern, beautifully engineered and architecturally daring. A statement for living amid the grandeur of Westminster and Belgravia." This apparent "statement," it seems, has not worn well on many critics. "Nova should have been good as it’s a prestige site. It makes me want to cringe physically," remarked judge Catherine Croft who is also director of the C20 Society in the U.K. The scathing didn't end there, either. Fellow judge David Rudlin lamented: "There’s no variety and you can’t read the floors." Speaking of the arrowhead, he added, "It’s got the same proportions as Salisbury Cathedral. For me the spire gives it carbuncular status–otherwise it’s just a bad building." BD editor Thomas Lane said also poured on the scorn. "The architect appears to have been inspired by the fractured, angular shapes beloved of stararchitects like Frank Gehry and Daniel Libeskind and applied these to a run-of-the-mill spec office development," he said. For all of Nova Victoria's flaws, it could have been worse. It's hard to imagine, but as The Guardian's Oliver Wainwright noted, three 40-story towers were proposed to Westminster Council in 2007. This was rejected, and rightfully so, for the project would have cast its Victorian surroundings in shadow. Worth noting too, is that views of and from Buckingham Palace would have been somewhat spoiled.
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Burning Man! Mini Trains!

AN's top five picks for this week's news
Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Gehry Partners to design Extreme Model Railroad Museum in Massachusetts The firm is replacing Gluckman Tang as architects of the Extreme Model Railroad Museum and Contemporary Architecture Museum in North Adams, Massachusetts. What happened to speculation in architecture? Architects are not really thinking about new ways of living and relating to the world outside of our own history and discourse. What happened? Gorge yourself on Burning Man's annual exhibition of weird and wonderful architecture The Architect's Newspaper takes a look at the best art and architecture at Burning Man. The 2017 edition of the desert gathering kicked off this week.. Thanks to big data, all architects will face a major professional crossroads bigger than CAD or BIM Should we architects cede our authority to algorithms, it’s likely we’ll lose all control and influence over the forces that reduce great design to mediocrity. Irishtown Bend in Cleveland could be in line for a massive transformation Cleveland non-profit LAND studio and CMG Landscape Architects are proposing radical changes to Irishtown Bend in Cleveland, Ohio. Jenny Sabin's selling furniture from her MoMA PS1 installation Well, we lied. There's actually six top news items today, because we just couldn't resist this: Jenny Sabin Studio's "spool stools," the seating for Sabin's MoMA PS1's Warm Up installation, are now available for purchase. Prices start at $150.
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Fried KFC

Iconic postmodern Kentucky Fried Chicken restaurant heavily damaged after fire
An iconic postmodern Kentucky Fried Chicken (KFC) outlet in Los Angeles has been severely damaged after a fire yesterday afternoon. Located on 340 North Western Avenue, in Koreatown, the restaurant suffered burns to its roof and walls. Los Angeles Fire Department spokeswoman Margaret Stewart told San Fernando Valley Media that 40 firefighters took to the scene, dealing with the fire in just over 30 minutes. No injuries have been reported; however, an investigation into the cause of the fire is still underway. The KFC was formerly run by Jack Wilkee, who took on the franchise to make changes to the restaurant, which he operated for 25 years. "I challenged the notion that all KFC franchises should have the same standard design of fake mansard roofs (and) outsize Colonel Sanders bucket," Wilke told the L.A. Times in 1990. "Why not do something radically different for a change?" To make such a change, Wilke, an art collector, sought the expertise of local architect Elyse Grinstein, who he knew from his art circles. Grinstein's influence, exhibited in her charred work, comes from Frank Gehry, her former boss, and Michael Graves, who was Grinstein's student when she was a teaching assistant at the University of California, Los Angeles. Wilke enjoyed Gehry's overtones that carried through in Grinstein's architecture so much so that he let her have free reign with the KFC's design. "I turned the design over to her, and let her have her head," he said. As a result, Jeffrey Daniels, Grinstein's partner and colleague at the Culver City practice Grinstein/Daniels, produced the Koreatown icon that many know today. "Jack (Wilke) wanted to do an updated Googie KFC," Daniels said, "but we convinced him to take it one step further and reinterpret the 1950s diner style in a more sophisticated 1990s idiom," Daniels said, also speaking to the L.A. Times 27 years ago. The design may have been the first KFC to break the formal mold that had been a precedent for KFC's before, but it certainly was not the last.

A post shared by Jason Sayer (@jasonsayer) on

Also in California, the Palm Springs KFC dons a Googie aesthetic. Meanwhile, in Georgia, the Marietta "Big Chicken" (which became a KFC franchise in 1991) sports a 56-foot-tall steel chicken, complete with a moving beak. The much-loved roadside restaurant recently received $2 million makeover.
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The Power of Architecture

Louis Kahn's architecture comes home to Philadelphia with major exhibition
Last Friday, an exhibition on the late U.S. architect Louis Isadore Kahn opened in Philadelphia, the city where he practiced during the majority of his life. Louis Kahn: The Power of Architecture details the architect's career as well as his journey to the U.S. from the former U.S.S.R. and his early forays into the design world. Kahn was born in 1901 in Pärnu, now in Estonia (formerly under the Governorate of Livonia in the Russian Empire) and left for the U.S. with his family in 1906. His family endured a tough start to life in America. Such was the state of the Schmuilowsky's finances (the surname was later changed to Kahn by his father in 1915) that Kahn could only use charcoal sticks made from burnt sticks to draw; these drawings contributed to a meager income. Kahn continued to use charcoal later in life and these drawings can be found in Louis Kahn: The Power of Architecture, along with further artwork created using watercolors and pastels. The exhibition's introduction provides in-depth biographical insight into Kahn's early life, followed by six thematic sections. One section, titled "City," looks at Kahn's time in Philadelphia, a place where he developed as an architect and where he taught architecture at the University of Pennsylvania. "Science," meanwhile, shows examples of how Kahn used structural systems found in nature as a precedent for his work. "Landscape" touches on a similar note, demonstrating the importance Kahn placed on the site and context of his architecture. Likewise, "House" examines how the architect bridged nature and the built environment with the design of dwellings. "Community," on the other hand, details how Kahn used and believed in architecture as a social device, especially for public buildings. Finally, "Eternal Present," exhibits Kahn's study of architectural history, showing this mostly through drawings from his travels to Greece, Italy, and Egypt. Famous quotes from Kahn are interspersed throughout the exhibition's multiple levels. Models also abound, one notable highlight being a twelve-foot-high model of the City Tower Project. Planned for Philly and designed in 1952, the tower was never realized. The exhibit also features interviews with the likes of Renzo Piano, Sou Fujimoto, Peter Zumthor, and Frank Gehry. Louis Kahn: The Power of Architecture will be on show at The Fabric Workshop and Museum for three months, closing on November 5, 2017. After previously being exhibited in Weil am Rhein, Germany and Fort Worth, Texas, this will be the only time it comes to the East Coast. More details on events such as lectures and family-orientated programs surrounding the exhibition can be found here.
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This Future Has a Past

FBI files, a missing MoMA house, and the life of modernist architect Gregory Ain
On show now at the Center for Architecture (CFA) in New York is an exhibition on the late architect Gregory Ain. Titled This Future Has a Past, the show looks at Ain's life while focusing on his Exhibition House for the Museum of Modern Art (MoMA) Garden, a project that mysteriously disappeared. Guiding audiences through Ain's personal life, This Future Has a Past attempts to shed light on the house's curious history. Ain practiced mostly around Los Angeles and his style comes under the umbrella of midcentury modernism. He even taught the likes of Frank Gehry. However, as Phillip Denny points out in his New York Times article, not much else is known about the architect, especially by those outside L.A. Unless you are the F.B.I., that is. Ain, who died in 1988 at the age of 80, was a Leftist and his political stance meant he was under scrutiny during the Red Scare. This happened after a housing complex (which never came to fruition) appeared on the F.B.I.'s radar; it was rumored the scheme was connected to the Communist Party. In 1950, Philip Johnson, who the F.B.I. was also monitoring due to his supposed connections to the Nazi Party, commissioned Ain to design a house for the MoMA to stand as an exhibit in its garden. The house was the second of its kind. Marcel Breuer, also commissioned by Johnson, had controversially supplied the previous MoMA Garden house in 1949. Mysteriously, however, Ain's house appears to have gone missing, with little clues as to its whereabouts. Breuer's house and the house that came after it, the Japanese House by Junzo Yoshimura, meanwhile, still survive having been relocated elsewhere. Christiane Robbins, founding principal at Metropolitan Architectural Practice (MAP) and professor of architecture at California College of the Arts, created the CFA exhibition with Katherine Lambert, who is principal and director of special projects at MAP. The pair's interest was piqued when the photographer Julius Schulman mentioned Ain's mysterious past. “He said there was a story there that wasn’t getting told,” Lambert told the New York Times. “But he wouldn’t tell us what it was.”

The exhibition at the CFA includes a model of Ain's MoMA house. The model had turned up at architect Theodore "The Dean of Models" Conrad's house in New Jersey. In addition to this, F.B.I. files procured by Robbins after a Freedom of Information Act (FOIA) request are also on display. The files disclose oddly specific details on Ain, such as his weight and also his alias, Fred Grant.

Despite the unearthed files, Ain's house is yet to be found. “To put all of that money into the exhibition house only to demolish it doesn’t make sense,” said Robbins.

This Future Has a Past is presented in cooperation with Anyspace. The exhibition was initially intended for the 15th International Venice Biennale of Architecture but is on show at the CFA until September 12, 2017. A special talk, "Who was Gregory Ain?" is planned for September 7. More details on that can be found here.

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Shortlisted

Gehry, DS+R, Snøhetta, Piano, Foster, and Levette compete for a new concert hall in London
Comprising quite the shortlist (described already as boasting the "starriest of starchitects"), Amanda Levete, Norman Foster, Renzo Piano, Diller Scofidio + Renfro, Frank Gehry, and Snøhetta are all vying for the commission to design a new venue for the London Symphony Orchestra and the Guildhall School of Music and Drama. Known as the "Center for Music," the venue—despite protests from Leon Krier—will be located in what is currently the Museum of London, which was originally designed by Hidalgo Moya and Phillip Powell in the 1970s. In a close-knit reshuffle, the Museum of London will be moved to a new location in West Smithfield, only a stone's throw away from its original site at the Barbican. (The new Museum of London has a construction budget of $185 to 210 million and Bjarke Ingels Group, among others, is in the running for that project.) As for the new Center for Music, the roughly $322 million project will require a "state-of-the-art building of acoustic and visual excellence." Originally, the government had planned to provide some funding, but after austerity cuts, its proposed $6.4 million contribution was withdrawn and replaced by the City of London Organization, which is supplying $3.2 million. The venue is due to offer a 2,000-seat concert hall and spaces for teaching too.

The shortlist for the Center for Music in full is as follows:

  • AL_A (U.K.) and Diamond Schmitt Architects (Canada)
  • Diller Scofidio + Renfro (U.S.) and Sheppard Robson (U.K.)
  • Foster + Partners (U.K.)
  • Gehry Partners, LLP (U.S.) and Arup Associates (U.K.)
  • Renzo Piano Building Workshop (France)
  • Snøhetta (Norway)
“It is hugely encouraging that so many leading architects from around the world have responded enthusiastically to the challenge to develop a concept design for the Centre for Music," said Catherine McGuinness, policy chairman at the City of London Corporation, in a press release. "For them, it represents an exceptional opportunity to help realize the plans for this truly remarkable concert hall—outstanding in design and open to all—in the heart of the Square Mile. For the key partners behind this project and the City of London Corporation, this important announcement brings everyone a step closer towards one of the most widely anticipated and significant developments in the Square Mile’s vibrant cultural hub.”

The aforementioned architecture firms and their teams will provide designs in the coming months. A winner is expected to be announced in the fall.

The current concert hall in the Barbican has also seen recent work done to it—or rather underneath it—in the wake of CrossRail, a new rail line that connects East and West London. In order to reduce noise, special spring-loaded rails are being installed to dampen vibrations which reverberate loudly in the tunnels, potentially disturbing performances. Engineers have not been able to test the idea, but are hopeful of its success.