Search results for "east"

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BIG Cove Coming

BIG and James Corner Field Operations reveal Williamsburg’s newest blockbuster towers
Continuing the work done slightly south at Domino Park, today developer Two Trees revealed their newest addition to the Williamsburg, Brooklyn, waterfront. River Street will bring a pair of sloping towers designed by the Bjarke Ingels Group (BIG) and a circular esplanade, cove, beach, boat launch and more, courtesy of James Corner Field Operations (JCFO) to the East River end of Metropolitan Avenue. Two Trees described the project as not replicating the same park-on-a-pier typology as Domino Park but instead will slope to meet the water. Thanks to the existing concrete caissons already adjacent to the site at 87 and 105 River Street, BIG and JCFO have been able to propose building into the East River to create a total of six acres of public space. The BIG-designed towers, from the renderings, will loom over the surrounding neighborhood and dwarf the towers at the Domino Sugar Factory complex next door. Totaling 1.2 million square feet across both buildings, the towers will contain 750 market-rate apartment units, 250 affordable units, 47,000 square feet carved out for a new YMCA (with pool), 30,000 square feet for local retail, and 57,000 square feet of office space. An additional 5,000 square feet will be set aside at ground level for a series of community kiosks, which will likely contain amenities for parkgoers and kayakers. Although the towers will be tall—one will top out at 600 feet, and the other at 650 feet—BIG has attempted to soften their impact by “pinching,” pulling, and spreading out the massing at the base. The towers’ stature will have the added effect of framing the Manhattan skyline for those looking down Metropolitan, and Bjarke Ingels claimed that their triangular footprint was designed as a “funnel” for those looking to reach the shore. River Street’s most striking feature, at least when viewed from above, will be the circular esplanade and on-river landscaping mentioned earlier. Instead of lifting the shoreline bulkhead to protect from storm surges as is typical for a coastal development, JCFO wants to implement a series of berms and soft edges to both protect River Street from flooding and increase access to the river. That will include a new public beach (JCFO senior principle Lisa Switkin noted that New York’s waterways are the cleanest they’ve been in a century), nature trails, plenty of tidal basins, both saltwater and freshwater marshlands, an amphitheater, outdoor classroom, and more. As is fitting for the designers selected by Two Trees, the team claims that River Street borrows from the Netherlands model of “embracing the river” rather than trying to block it out. Accordingly, Ingels claimed that the River Street towers would be able to weather a 500-year-storm surge, thanks to the way the landscape would be able to break up the energy of incoming waves and the placement of the towers’ mechanicals on higher levels. When asked about a timeline, Two Trees was confident that they would be able to have River Street approved in the next two years under the current City Council administration, although the project will still need to undergo the mandatory seven-month Uniform Land Use Review Process (ULURP). After the ULURP concludes, it should take another five years for River Street to be fully built out. The park and a single tower will be built in the first phase, and the second tower would come afterward. However, according to Switkin, because the project will build on to the East River, they will also need a joint permit from the New York State Department of Environmental Conservation and the U.S. Army Corps of Engineers. Though, Switkin also noted, with the passage of the Living Shorelines Act (H.R.3115) in the House of Representatives earlier this week, federal momentum is building to enable exactly these types of projects. River Street will be entirely privately funded and maintained by Two Trees, similar to Domino Sugar Factory.
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Hey Child Stay Wild

The 2019 Best of Design Awards winners for Education
2019 Best of Design Award winner for Education: Cottonwood Canyon Experience Center Designer: Signal Architecture + Research Location: Wasco, Oregon “Who wouldn’t want to learn (or teach) there? Beautiful details give power to the overall restraint of the design, a nod to the surrounding landscape.” —Oana Stănescu As the heart of the Cottonwood Crossing Summer Institute run by Eastern Oregon University and Oregon State Parks, the project was inspired by a place-based idea of hands-on, site-specific education. To accommodate educational projects dealing with solar engineering, species diversity, botany, writing, and more, Signal Architecture + Research was tasked to create a highly adaptive, multipurpose design. Indoor spaces were configured to be flexible, with expansive doors allowing the interior spaces to effectively double in size when opened to the exterior covered spaces. The center uses local juniper, metal siding, and durable concrete floors—materials that age well. Inspired by barns of the region, the nearly net-zero building emanates resilience and grit in a simple form. Project Manager and Owner: Oregon State Parks Landscape Architect: Walker Macy Structural Engineer: Lund Opsahl Solar Energy Consultant: Sunbridge Solar Construction: Tapani Honorable Mentions Project Name: Club de Niños y Niñas Designer: Centro de Colaboración Arquitectónica Project Name: RISD Student Center Designer: WORKac Editors' Picks Project Name: Santa Monica College Center for Media and Design & KCRW Media Center Designer: Clive Wilkinson Architects Project Name: Student Services Building, Cal Poly Pomona Designer: CO Architects
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Greener Grass

2019 Best of Design Awards winners for Landscape — Public
2019 Best of Design Award for Landscape — Public: Josey Lake Park Designer: Clark Condon Location: Cypress, Texas Josey Lake Park is a 140-acre recreational green space that connects users to nature, education, culture, and recreation while serving as a sustainable stormwater detention system. The design took land typically designated for infrastructure and turned it into an amenity with various ecosystem types and multiple levels of active and passive recreation. Creative site grading produced very generous slopes, which provided ample space to accommodate activities both below and above the 100- year flood elevation. Through careful planning and intentional design, this stormwater detention facility has been programmed to create a leisure destination that focuses on ecology, education, and connectivity to benefit humans and wildlife. Client: The Howard Hughes Corporation Architect: Overland Partners Civic Engineer: BGE Honorable Mentions Project Name: First Avenue Water Plaza Designer: SCAPE Landscape Architecture DCP Project Name: Pier 35 Designer: SHoP Architects Editors' Picks Project Name: Scottsdale's Museum of the West Designer: Colwell Shelor Landscape Architecture Project Name: Drexel Square Designer: West 8 & SHoP Architects
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In Memoriam

Looking back on the great architects, designers, and curators we lost in 2019
As 2019 draws to a close, we’re looking back on some of the events that made it memorable. We’ve rounded up this year’s funniest, most important, and most controversial stories, as well as homages to some of the people we lost. The world is a little less bright without these iconic designers, but from the Louvre pyramid to a series of architecturally-diverse cancer care centers, their legacies live on. I.M. Pei  Louvre pyramid designer I. M. Pei passed away at 102, bringing an epic career of international acclaim to a close. Born in 1917 in Guangzhou, China, Pei moved to the U.S. to attend architecture school at the University of Pennsylvania and later MIT, following by the Harvard Graduate School of Design. He founded Pei Cobb Freed & Partners (formerly I.M. Pei & Associates) in 1955 and decades later won the 1983 Pritzker Prize for projects such as the Mile High Center in Denver, Colorado. Among Pei’s other notable projects is the National Gallery of Art, East Building, in Washington, D.C., and the Bank of China Tower in Hong Kong. Kevin Roche Legendary Irish-born American architect Kevin Roche passed away at age 96 in March. His namesake firm, Roche-Dinkeloo, was founded in tandem with partner John Dinkeloo after the death of their boss and mentor Eero Saarinen in 1961. A modernist architect trained by Saarinen and Mies van Der Rohe, Roche designed over 200 buildings in his lifetime including the Ford Foundation headquarters in Midtown Manhattan and the Oakland Museum of California. He was the 1982 Pritzker Prize Laureate and won an American Institute of Architects Gold Medal in 1993.  Florence Knoll Bassett Midcentury modern designer Florence Knoll passed away at age 101 this January. Considered one of the most influential furniture designers in history, her sleek and minimal pieces became commonplace throughout American postwar office spaces and later in homes. In 1955, she took over Knoll Inc, the company started by her husband Hans in 1938, which continues to manufacture furniture by designers such as Ludwig Mies van der Rohe, Eero Saarinen, and Knoll herself, among others.  Phil Freelon Phil Freelon, one of the lead designers of the National Museum of African American History and Culture, died at 66 this July. The Durham, North Carolina-based architect founded his eponymous firm, The Freelon Group, in 1990 and was responsible for projects like Atlanta’s National Center for Civil and Human Rights, the Museum of the African Diaspora in San Francisco, and Houston’s Emancipation Park. The studio was acquired by Perkins+Will in 2016 and Freelon stepped in to lead its regional office. Henry Urbach  Former SFMOMA curator Henry Urbach passed away at 56 this summer, and his friends and family are opening new dialogues on the subject of mental health in his memory. Urbach, who more recently served as director of Philip Johnson’s The Glass House, suffered from Late-Onset Bipolar Disorder. He was an accomplished curator, having started his own New York-based experimental design gallery in 1997 in which he hosted over 55 exhibitions. At SFMOMA, he accumulated hundreds of works for the museum’s permanent collection and collaborated with Diller Scofidio + Renfro on one of his most famous shows, How Wine Became Modern: Design + Wine 1976 to Now Cristiano Toraldo di Francia Superstudio cofounder and iconic Italian architect Cristiano Toraldo di Francia died in July. In his 78 years, his work helped shape generations of avant-garde designers such as Rem Koolhaas and Zaha Hadid. Best known for starting the radical collective Superstudio in the late 1960s, Toraldo di Francia produced highly regarded drawings, videos, and lithographs through the practice, eventually exhibiting work in the Milan Triennale, the Venice Biennale, and at the Museum of Modern Art, among other institutions. Up until his death at age 78, Toraldo di Francia designed and built several projects throughout Italy and taught at various universities throughout Europe, Japan, and the U.S.  César Pelli  César Pelli passed away in July at the age of 92, leaving behind the legacy of an international firm and a monumental portfolio. Considered the father of the modern skyscraper, the Argentine architect designed some of the most famous towers in the world: the Petronas Towers in Kuala Lumpur, Malaysia, The Landmark in Abu Dhabi, and the recently completely Salesforce Tower in San Francisco. Pelli moved to the U.S. in 1952 and worked for Eero Saarinen in Michigan for a decade. From 1977 to 1989, he served as dean at the Yale School of Architecture in New Haven. During that time, Pelli received the commission for the 1984 expansion and renovation of the Museum of Modern Art, which more or less forced him to open his own studio, Cesar Pelli & Associates. After over 20 years designing projects like the Ronald Reagan National Airport in Washington, D.C., among others, Pelli renamed his practice to Pelli Clarke Pelli Architects in honor of his long-time partner Fred Clarke, and son Rafael. Charles Jencks Landscape architect and historian Charles Jencks died this October at age 80. Remembered for his embrace of theory, built practice, and connecting the cosmos, Jencks designed whimsical gardens and earthworks that promoted tranquility and play. He is best known for founding Maggie’s, a cancer research institute named after his late wife and whose patient rehab centers have attracted architects like Steven Holl, Frank Gehry, and Zaha Hadid. In the middle of his career, Jencks authored several books on the subject of "Post-modernism" before taking up landscape design. Stanley Tigerman Chicago architect and theorist Stanley Tigerman died in June at 88 years old. Known as a member of the Chicago Seven—a group of architects that rebelled against the doctrine of modernism—his design style was fairly eclectic in his early years, gaining a reputation as an iconoclast, until later when he adopted a more organic approach to architecture. He established his own eponymous firm, Stanely Tigerman and Associates (later renamed Tigerman McCurry Architects), in the early 1960s and completed over 175 buildings in his six-decade career. Among his most prominent works were the Daisy House in Indiana, Lakeside Residence in Michigan, the Illinois Holocaust Museum and Education Center, and the POWERHOUSE Energy Museum in Zion, Illinois.
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Clean Bill of Health

2019 Best of Design Awards winners for Interior — Healthcare
  2019 Best of Design Award winner for Interior— Healthcare: Chelsea District Health Center Designer: Stephen Yablon Architecture Location: New York City The LEED Gold renovation of the historic New Deal–era Chelsea District Health Center is critical to New York City’s effort to significantly reduce STDs. The building’s park location inspired the design concept: a modern health center that is also an airy park pavilion. Undulating wood ceilings and natural-finish tile floors frame curvy, white epoxy-clad clinical spaces, creating a soothing environment. The brightness of the interior is extended in subtle ways to the exterior with a new white rooftop Corian screen and a vertical glass slot cut into the rear facade. Many sexual health clinics come across as stigmatized places, but the facility provides an uplifting experience where everyone feels deserving of dignity and respect. MEP Engineer: IP Group Structural Engineer: Silman Lighting Design: Cline Bettridge Bernstein Exterior Restoration and Consulting: WJE LEED Consulting: Steven Winter Associates Honorable Mentions Project Name: Mount Sinai Pediatric Cardiac Intensive Care Unit Designer: Perkins Eastman Project Name: YPMD Pediatric Neurology Clinic Designer: Synthesis Design + Architecture Editors' Pick Project Name: NEXUS Club New York Designer: Morris Adjmi Architects
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Beyond MoMA

Curatorial collective augments MoMA with an AR exhibition
"There’s so much modern and contemporary art that isn’t shown," the mononymous artist Damjanski said as we walked around the fifth-floor galleries of MoMA, iPhones in hand. "What if we could bring even more in?" Along with Monique Baltzer and David Lobser, Damjanski has come up with a solution to these limitations with MoMAR, an "unauthorized gallery" that lives inside the recently-reopened museum from which it derives its name. The gallery takes the form of an iPhone app that uses augmented reality (AR) to introduce new art into MoMA by latching onto physical artwork as triggers. Initial exhibitions earlier this year featured new works layered on top of the existing paintings, offering a sort of secret secondary exhibition.
 
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Install view of MoMAR v3 *Open to the Public* with @hikohikounko @manuelrossner @erinkostudios @exonemo

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For its third iteration, titled Open to the Public, the MoMAR curators wanted to push the boundaries of the museum further, digitally intervening into the museum's architecture more directly. Manuel Rossner’s contribution, Reef, reconfigures the room it "sits" in. The German artist, who primarily works in virtual reality, has created a colorful cavern that expands beyond the gallery’s wall. Rather than simply replacing a painting, it cannibalizes it, and in turn considers what environments—physical or digital—might be made within the white-walled constraints of the museum. This vibrant, biomorphic intervention, which is algorithmically generated, adds a dash of play to the relatively rigid structure of the institution. One can imagine the artificial depth causing problems for the less attentive, and MoMA does officially restrict panning phones through rooms if you’re filming. Other artworks cheekily deconstruct our relationships to how we consume (and make) images in the museum. Akihiko Taniguchi has introduced an "augmented selfie" into the gallery, where a 3D avatar of the artist floats in the iPhone’s view. The digital Taniguchi’s arm is outstretched, phone in hand. If you press your screen it will save a picture to your phone and the animated avatar will take a photo too, his virtual self capturing his face in front of a wall of Morris Hirshfield paintings. Strokes, by the Japanese duo exonemo, is an act of artistic intervention (or vandalism). Just what it sounds like, when an iPhone is pointed at its tag (Joseph Pickett's painting Manchester Valley) random Pollock-esque strokes of "paint" will appear on the screen, disrupting and damaging the otherwise pristinely kept MoMA and its carefully kept goods. New York-based Erin Ko’s La Barrera diffuses glitchy fractured signs throughout the gallery—shattered emojis, 3D pyramids and bottles, all what Ko calls "floating garbage." Black brushstrokes cover a canvas that digitally displays quickly changing insipid networked truisms: "You don’t know stress until you own a charger that only works if your phone is at a certain angle." Is that stress? By disrupting the art on display and its vaulted home with her own internet throw up, Ko seems to point out the banality of the glut of content online and off, the constant distractions that the privileged find on their phones and in museums, in buildings and on networks developed by so much labor and producing so much waste, all of which so often is ignored. Where some smaller works hang on the wall a hole opens up, a portal beyond the museum, to nowhere real. An outside we can never reach, the hole reveals the museum as a trap. Despite the ways these works might prod at the museum that made and continues to makes the modern canon, flouting its celebrated art and its architectural integrity, Damjanski noted that he is not anti-museum in the least. He loves coming to the MoMA, but he sees many new opportunities in and beyond traditional institutions. "Museums are so often a one-way conversation," he pointed out. "We want to see if it could be a three- or four-way conversation instead." By involving the user and new artists in the museum, disconnected from its official institutional and curatorial structures, a more democratic, flexible, and updatable MoMA—an augmented one—can be imagined. MoMAR also provides and proposes new ways of exhibiting net art and other creative practices that engage with emerging technology that museums, excluding certain projects such as Rhizome, have been relatively slow to keep up with—though there are some net works like JODI’s video My%Desktop in MoMA’s rehang. Of course, to visit Open to the Public you still have to get to MoMA and pay admission or attend on a free night, which is also when MoMAR hosts its openings. To further the democratizing potential of AR exhibitions, MoMAR’s team offers up its Unity-based platform as an open-source tool so that people around the world can create their own installations and exhibitions well beyond MoMA’s rarefied walls. Open to the Public Viewable with the MoMAR app at MoMA, gallery 521, fifth floor Through January 25, 2020
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Dine Out

2019 Best of Design Awards winners for Interior — Hospitality
  2019 Best of Design Award for Interior — Hospitality: Tamarindo Designer: Stayner Architects Location: San Clemente, California Stayner Architects helped first-time restaurateurs translate their acclaimed food truck, Tamarindo, into a full-service restaurant set in a 1940s-era former men’s haberdashery in San Clemente, at the far southern end of Orange County, California. Tamarindo introduces the land of Nixon to the owner’s traditional cuisine from the Mexican state of Querétaro, north of Mexico City. The design is based on research into the drawings of Mexican feminist artist collective Polvo de Gallina Negra and the Arte Povera materials of Luis Barragán. Stayner Architects translated the handmade quality of the food into the construction materials and architectural details. Contractor: Stayner Properties Mural Design and Installation: Jon Anthony Terrazzo Tables and Countertops: Stayner Architects Lighting Products: Ketra Sawn-Cut Lava Stone: SoCal Building Solutions Honorable Mentions Project Name: All Square Designer: Architecture Office Project Name: ROOST East Market Designer: Morris Adjmi Architects Editors' Picks Project Name: The Fleur Room Designer: Rockwell Group Project Name: Woodlark Hotel Designer: OFFICEUNTITLED
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No food or drink allowed

Someone ate Maurizio Cattelan's $120,000 banana
In case you missed it, a banana duct-taped to a blank wall, that fruit whose peel has been the basis of so much slapstick comedy, sold for no less than $120,000 at Art Basel Miami Beach, the sun-soaked winter outpost of the Swiss art fair. Called Comedian, the sculpture—three editions available—was the creation of the Italian artist Maurizio Cattelan, who recently had another brush with mainstream press when his full-functioning 18 karat gold toilet, America, was stolen from Blenheim Palace in England less than two months ago. The banana attracted a great deal of attention at the fair, with people lining up to take selfies with the fruit mounted to the wall of the global mega gallery Perrotin. It also attracted, depending on your perspective, vandalism or critical intervention: The performance artist David Datuna ate the banana on Saturday. Comedian was taken down for the last day of the fair because of the disruption it was causing, after which someone used the opportunity to scrawl “EPSTIEN [SIC] DIDN’T KILL HIMSELF” in blood-red paint on the now-bare wall. It was promptly covered up. https://twitter.com/GiancarloSopo/status/1203875430803087367 While Datuna’s performance may appeal to some as a means of pointing out the relative valuelessness of the work, they would be missing the point. Of course Comedian is just a fruit and some household tape. Nobody is meant to believe that the materials are in-themselves valuable beyond their grocery store price points. What is sold to collectors is not duct tape and a banana, but rather a certificate, which presumably includes maintenance instructions. The inherent ephemerality of the fruit is part of the work: owners can change the banana whenever they see fit. Obviously anybody could make this work at home, that's not in dispute. What’s sold, supposedly, is an idea (and the right to resell it). That is to say, that it is not about the objects. Like much art of the past 100 years, which has included urinals, apples, and canned feces as high-value objects, the intention of art like Comedian is to question how value is produced in the context of art. The controversy, mainstream and art world press, and social media presence is presumably as much as part of the work as the banana mounted in almost painterly gesture by a diagonal strip of duct tape somewhere it doesn’t belong. Even if we were to take Comedian at face value, putting decay on display through constantly-rotting produce isn't a new idea, either. Comedian also references the history of Cattelan’s own practice. The 1999 A Perfect Day, a mainstay of art history classes, used a whole lot more tape to attach Cattelan’s gallerist Massimo De Carlo to the wall for an entire day. Now, 20 years later, with a title that suggests a person—maybe himself, maybe his gallerist—perhaps we can see this banana as a stand-in for the body. Or, depending on one's leanings, it might just be rendering all the art system’s actors (this writer included) as charlatans and jesters. Whoever the joke may be on, Comedian is at the very least an ironic critique of the art market. As Jason Farago points out in his "grudging defense" in the New York Times: “[Cattelan’s] entire career has been a testament to an impossible desire to create art sincerely, stunted here by money, there by his own doubts.” By asking so much money for an idea (successfully, at least one edition has sold) that unifies two cheap, common objects, and creating so much controversy along with it, Cattelan attempts to expose the ways value is generated in art, as well as issues of authorship. Of course, at a time of rising inequality and rising seas that threaten Miami Beach, one might not find it so funny and fairly see it as a further indictment of an art system awash in cash, a playground for the one percent. That's what Comedian has to tell us: it’s all a charade, fresh fruit and painted canvas and plain-old dollar bills alike. Regardless, Cattelan will surely be happy to take his 50 percent cut.
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Come Together

2019 Best of Design Awards winners for Interior — Institutional
2019 Best of Design Award for Interior — Institutional: Southeast Raleigh Magnet High School Great Hall Renovation Designer: tonic design Location: Raleigh, North Carolina Making the most of a $150,000 federal grant and a construction time frame of six weeks during summer break, this renovation consists of subtle but powerful insertions and additions. The existing entry hall was poorly lit, dull, and lacked spaces for students to sit, collaborate, and congregate. Trophy cases holding relics long forgotten lined the perimeter of the hall, gathering dust and little attention. The principal had a vision for a great hall that would transform an image of athletic achievement into an image of collegiate collaboration. Now 1,500 students have a comfortable place to sit, work, and exchange ideas. Owner: Wake County Public School System Contractor: Varnedoe Construction Honorable Mentions Project Name: The Center for Fiction Designer: BKSK Architects Project Name: The Children’s Library at Concourse House Designer: Michael K Chen Architecture Editors' Picks Project Name: Countryside Community Church Designer: Alley Poyner Macchietto Architecture Project Name: Gordon Chapel Renovation, St. Hilda’s and St. Hugh’s School Designer: MBB
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Work It

2019 Best of Design Awards winners for Commercial — Office
2019 Best of Design Award for Commercial — Office: 1000 Maine Designer: KPF Architect of Record: FOX Architects Location: Washington, D.C.

The centerpiece of The Wharf, Washington, D.C.’s new waterfront district, 1000 Maine is the development’s first signature office space. Commissioned by PN Hoffman (now Hoffman & Associates) and Madison Marquette, the building channels the energy of its pedestrian-centric surroundings. Working with local firm FOX Architects, KPF designed 1000 Maine to host “next-generation” workspaces. Shaped by the contour of the Potomac River, the ten-story building comprises two split bars that create light-filled spaces and an inviting grand entry, where a feature staircase and expansive glass create views to the water’s edge. Ten-foot-tall finished ceilings—a rare height for the region—produce a loftlike experience, while terraces and roof gardens provide outdoor access and panoramic views of the river and nearby landmarks.

Client: PN Hoffman, Madison Marquette Structural Engineer: Thornton Tomasetti MEP Engineer: GHT Limited Landscape Architect: Landscape Architecture Bureau Exterior Wall: Curtainwall Design Consulting Honorable Mentions Project Name: 901 East Sixth Designer: Thoughtbarn and Delineate Studio Project Name: Solar Carve Designer: Studio Gang Editors' Pick Project Name: The Carpenter Hotel Designer: Perkins and Will
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Power Play

2019 Best of Design Awards winners for Infrastructure
2019 Best of Design Award for Infrastructure: North Chiller Plant, University of Massachusetts Amherst Designer: Leers Weinzapfel Associates Location: Amherst, Massachusetts

The new North Chiller Plant replaces a smaller plant and enhances the University of Massachusetts Amherst campus’s master plan by locating the new plant outside a major view corridor. The parallelogram footprint maximizes usage of the narrow site by reconceiving the typical rectangular orientation of the chillers into an “angled parking” layout. The exterior continues this geometry with an angled interface between the insulated metal panels punctuated with channel glass above and a glazed base. The base is highest on the northern side to allow vehicle access and lowest on the southern to reduce solar gain. The transparent ground floor promotes “technology on display” by exhibiting the color-coded piping and equipment, transforming the building into an engaging element of visual learning for the campus.

Construction Manager: Fontaine Brothers MEP and Structural Engineer: RMF Engineering Civil Engineer: Nitsch Engineering Landscape Design: Brown, Richardson + Rowe Acoustics: Acentech Honorable Mentions Project Name: BART Market Street Canopies Designer: VIA Architecture Project Name: WETA Richmond Ferry Terminal Designer: Marcy Wong Donn Logan Architects Editors' Picks Project Name: Frances Appleton Pedestrian Bridge Designer: Rosales + Partners Project Name: Northeastern University Pedestrian Crossing Designer: Payette
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POPS-up

Snøhetta reveals new renderings of 550 Madison's covered garden
Snøhetta’s vision for an expanded outdoor garden at 550 Madison Avenue—the former AT&T Building in Manhattan’s Midtown East district—was unveiled by developer Olayan Group this week. Set to increase the existing plaza space by 50 percent, the privately owned public space (POPS) will transform what was once considered a dark, narrow plaza stuffed with freestanding retail kiosks into a light, airy, and “welcoming sensory retreat,” according to the architects. Located on the backside of the postmodern office tower between East 55th and East 56th Streets, the glass arcade and four-story annex added in the 1990s will be taken down to make way for the larger, open-air garden. With a delicate glass-and-steel canopy covering the pedestrian space, the overhaul will effectively bring the site closer to the original architects' (Philip Johnson and John Burgee) 35-year-old design intent. Up to 50 new trees will be planted throughout, alongside a wide array of plant varieties including evergreens, and perennials. Ample seating, tables, and low-lighting will be integrated while a cafe with a public restroom will be built adjacent to the building’s west entrance. At just over 21,000-square-feet, the plaza will be the largest of its kind within a five-minute walk.  Snøhetta said the overall look for the new POPS is directly connected to Gensler’s newly-released plans for the revamped lobby. “This new garden complements the adjacent tower while drawing upon the vibrancy of the neighborhood and the natural history of the region, offering visitors an immersive respite in the city,” said Michelle Delk, Snøhetta partner and director of landscape architecture, in a press release.  Slated to reopen next year, 550 Madison is expected to house as many as 3,000 workers, though when completed in 1984, it was only intended to hold about 800 people across its 37 floors. The Olayan Group, Snøhetta, and Gensler had to go through a controversial approvals process with the city’s Landmarks Preservation Commission to make sure the updated tower’s exterior—which was declared a New York City landmark in mid-2018—and rear plaza respected the history of the entire site.