Search results for "shop architects"
In Veszprém, a historic medieval town in western Hungary, 12 designers have coated walls of an aging school to illustrate the significance of architectural ornamentation and what it means for and to young architects today. The Elementary School of Music (formerly the Industrial School) was designed by Hungarian architect Lajos Schoditsch, a building which sits across the street from the Petőfi Theater, designed by another Hungarian, István Medgyaszay. Both buildings are integral to the city's architectural history and represent the changing use of motif and ornament in Hungarian architecture. Both are also scheduled to be renovated, with the now-vacant Elementary School of Music due to become an office building serving the theater. Seizing the moment before the renovation, the Hungarian practice Paradigma Ariadné, led by Dávid Smiló, Attila Róbert Csóka, and Szabolcs Molnár, saw the chance for architectural intervention. Working with Heléna Csóka, the curators of the 12 Walls project invited designers from across Europe to come up with wall installations that riffed on the history of ornament embedded in the former school. The result is a series of painted walls vying for visual attention in a cacophony of color and ornamentation. Each wall has its own agenda, courtesy of the 12 designers. The walls serve as standalone works but end up interacting with adjacent and nearby painted walls to create a dazzling landscape inside the vacant building. The designers and collectives commissioned include: Architecture Uncomfortable Workshop, Enorme Studio, False Mirror Office, Gyulai Levente, Adam Nathaniel Furman, Andrew Kovacs, MNPL Workshop, Giacomo Pala, Space Popular, TREES, Very Good Office, and Paradigma Ariadné itself. "Many emerging architects and studios are struggling to settle with the repeatedly omitted, yet constantly resurfacing ornament," the curators said in a statement. "Presenting different approaches by young collectives, the works at the exhibition examine the current roles and boundaries of the ornament, by appropriating the late Industrial School’s empty, undecorated walls." The majority of the walls are awash with bright colors. Austrian-based architect and researcher, Giacomo Pala's wall, titled, Frank Variation, riffs on the work of Austrian architect, Josef Frank. According to Pala, he was one of the first modern architects to deal with ornament, and Pala's work abstracts the late architect's approach to city planning, interior schemes, and watercolor architectural paintings. British designer Adam Nathaniel Furman's wall, Diadema, bursts with even more color. In a kaleidoscopic arrangement, brightly colored triangles and ellipses splay out across the wall creating an almost 3-D illusion. "Ornament is not a language. Ornament doesn’t speak," he said in a short text describing his work. "Ornament is the flush in the cheek, the color of life in the eye…it is the vigor of the fleshly moment captured in time for anyone and everyone who enters a space. Diadema is a taste of this, a crowning moment of chromatic delight in miniature." Space Popular, formed by Lara Lesmes and Fredrik Hellberg and based in London, has created one of the few walls to use text. At first glance, Tilt Lines looks like it was made with CAD sketching tools, but the piece was crafted by hand instead of digital tools to depict what Space Popular describe as an "endless mass." "Working with the line in 3-D space highlights the fact the we tend to identify spaces with enclosures," the firm added. "This notion is challenged when we are given a brush that draws in mid-air and we desperately try to fill in surfaces, consequently making everything look like gingerbread houses." Only one installation refrains from using color and that comes from MNPL Workshop from Odessa, Ukraine. The monochrome pattern has a hidden message, however. "By eliminating unnecessary decorative elements for modern society, modernism created a perfect environment for filling with elements of marketing and advertisement," said MNPL in a statement. One such element is a corporate logo and numerous logos have been embedded into the black and white ornamentation by MNPL.
Annabelle Selldorf has been named this year’s recipient of the Lawrence Israel Prize from the Interior Design program at the Fashion Institute of Technology in New York City. The prize, which has been given for the past 20 years, was endowed by the late architect Lawrence J. Israel to recognize architects and designers who “enrich students’ course of study.” Past recipients include, among others, SHoP Architects, Gaetano Pesce, Diller Scofidio + Renfro, and Billie Tsien. FIT says Selldorf, of the eponymous firm Selldorf Architects, is a “role model for all students of design” for her work in architecture, interiors, and furniture. Selldorf Architects has been making headlines with numerous projects in the city and further afield, including the recently opened Swiss Institute on St. Marks and their expansions to the Frick Collection and the Museum of Contemporary Art San Diego. Selldorf will deliver a lecture when she accepts the award on Monday, October 29, at the Katie Murphy Amphitheatre at FIT in New York City.
New York–based architects Perkins Eastman and engineers Arup have unveiled the latest batch of renderings for San Francisco’s Harvey Milk Plaza. The updated designs were submitted to city agencies this week in an effort to begin the formal approval process for the renovations envisioned for the plaza and its associated Muni subway station. The extensive renovations come as the city works to perform required Americans with Disabilities Act (ADA) upgrades for both facilities, including the addition of an elevator that will connect the street level to the subway platform. Backers for the project also seek to boost the plaza’s function as a memorial to Harvey Milk, San Francisco’s first openly gay elected official, and to create a new gateway into the city’s Castro neighborhood. Perkins Eastman was selected in 2016 as part of an international design competition held by Friends of Harvey Milk Plaza (FHMP), the volunteer group with business connections in the neighborhood. The latest renderings for Harvey Milk Plaza come after a previously-released iteration of the design was met with community opposition. Perkins Eastman revised the plans following four community workshops over the summer. The initial designs featured red paving and a uni-directional “stramp” (stair-ramp) that crossed the site going toward the west to create an elevated community amphitheater with the subway entrance located below. The new plans have flipped the arrangement by rotating the amphitheater and subway entrance 180 degrees so that they are located at the easternmost corner of the site, where it is expected that foot traffic would be greatest. The center of the plaza is now marked by a new elevator with the western edge of the plaza populated by low-slung benches and a grove of trees. The plaza bearing Milk’s name was planned before his death and was not named in his honor until 1985—Milk was assassinated in 1978— and according to FHMP, “the public has longed to see [the plaza] transformed into a place that captures [Milk’s] spirit; a place that embodies [Milk’s] passion to bring people together and see that all are treated with dignity and given voice at the tables of influence.” The plaza redesign is more-or-less the product of community input, Hoodline reports, a delicate dance the designers and organizers have played with local residents as they seek to win on-the-street approval for the project. The designs, however, are relatively unloved by San Francisco Chronicle urbanism critic John King, who has lamented that the plaza would weaken the vitality of the district’s street life by pulling pedestrians away from its key attractions. King added that the proposal’s function as a true memorial to Milk’s legacy could better be suited by other means, as well. King said:
If the desire is to celebrate Milk’s life and legacy, it might be easier to freshen up the current plaza and create an ongoing fund for its maintenance. Then, install plaques or informative artwork along the bridge-like walkway to Collingwood Street, a path that has serenity despite its surroundings.The design for the proposal is by no means finalized, however. As the bid makes its way through the approval process, changes and new approaches are sure to be recommended. A timeline for final approval and completion of the plaza has not been announced.
15 Years of The Architect's Newspaper
A brief history of architecture in the 21st century
To celebrate our 15th anniversary, we looked back through the archives for our favorite moments since we started. We found stories that aged well (and some that didn’t), as well as a wide range of interviews, editorials, and other articles that we feel contributed to the broader conversation. We also took a closer look at the most memorable tributes to those we lost, and heard from editors past and present about their time here. Check out this history of architecture in the 21st century through the headlines of The Architect's Newspaper:
2003Protest: Michael Sorkin on Ground Zero
Saarinen’s TWA terminal proposed to be Kunsthalle
Philip Johnson retires
Who benefits at WTC?
After Koolhaas and before Piano, Richard Gluckman proposes Whitney addition
Emerging Voices, Class of 2004
Storefront makes an offer to Anselm Franke
Rem Koolhaas and Hani Rashid in conversation
Cataloging new skyscrapers in California
MoMA hires Andres Lepik to architecture department
Gwendolyn Wright interviews Shaun Donovan
Rethinking New York’s coastal infrastructure
Governors Island landscape team chosen
Contractor still working after deadly accident at Trump SoHo
Jean Nouvel wins Pritzker Prize
MoMA neighbors speak out against Nouvel/Hines Tower at LPC
Q&A: Allan Wexler
“Mike’s Angels” Q&A: Janette Sadik-Khan, Amanda Burden, Adrian Benepe
Q&A: Joe Mizzi
SHoP launches a business
Oslo Opera House opens
Scaffolding competition seeks solutions
Q&A: John Portman
Q&A: William Stout
Pictorial: Ken Smith’s tree stumps
Former Trump hotel by Graves is painted white by new owner
Making waves at MAS
Open: Wes Anderson's Bar Luce at Prada Foundation
The history of Richard Neutra’s Avion Village community
50 Years of Watergate
Assemble wins the 2015 Turner Prize
Reverse Commute: Chinese architects in the U.S. and Europe
Crit: AIA Convention (“No more weird architecture in Philadelphia”)
Crit: Spring Street Salt Shed (“In praise of the urban object”)
How institutionalized racism and housing policy segregated our cities
Chinatown residents protest de Blasio rezoning
Roche-Dinkeloo’s Ambassador Grille receives landmark designation
Q&A: Jorge Otero-Pailos: Why the Met Breuer matters
Comment: Ronald Rael on the realities of the U.S.-Mexico border
Detroit Zoo penguin habitat opens
Chicago battles to keep Lucas Museum of Narrative Art from moving
Martino Stierli on the redesign of MoMA’s A+D galleries
WTC Oculus opens
Letter: Phyllis Lambert pleads for Four Seasons preservation
Q&A: Mabel Wilson
#NotmyAIA: Protests erupt over AIA's support of Trump
Snøhetta’s addition to SFMoMA opens
DS+R’s Vagelos Education Center opens
Baltimore’s Brutalist McKeldin Fountain pulverized
Actor Terry Crews is now a promising young designer
Architects design prototypes for Hyperloops
Never Built New York brings unrealized architecture to life
Seasteaders to bring a libertarian floating community to the South Pacific
Crit: Five fundamental problems with the 2017 Chicago Architecture Biennial
Jimmy Buffett–themed retirement communities in South Carolina and Florida
Will Jacksonville be a post-climate-change megacity?
Q&A: Henry Urbach on curating architecture, the Glass House, and what’s next
The architecture of addiction
Q&A: Pablo Escobar’s son is a good architect now
AGENCY's Border Dispatches: Reporting from the U.S.-Mexico Boundary
Learning from Baltimore’s approach to Confederate monuments
The 50th anniversary of the Milwaukee housing marchesThank you to USModernist Library, an online archive of architectural publications, for their help in putting this web feature together.
San Fran's Millennium Tower is sinking
Amid protests, AT&T building landmarked
Trump brings back asbestos and AN becomes a meme
Eva Franch i Gilabert selected as new director of Architectural Association
Richard Meier’s #MeToo reckoning
(It's a bubble)
What’s the state of inflatable architecture?
There’s been something of a renaissance lately in inflatable architecture. In the past few years alone, this ephemeral typology has been at Collective Design Fair, Performa 17, and the Park Avenue Armory. Inflatables emerged in the 1960s as a means of expressing dissatisfaction with established cultural norms about life, work, and society. They were seen as potentially revolutionary structures that allowed for experimentation with space in order to influence social, psychological, and physical cognition through the built environment. Inflatables were originally invented by the U.S. military with Cornell aeronautical lab engineer Walter Bird to deploy radio antennae in 1948. Bird, often referred to as the father of the field, is credited for taking this military technology and popularizing it in 1959 by collaborating with Paul Weidlinger on an inflatable roof for the Boston Arts Center Theater. In the ’60s and ’70s, when techno-optimism about the future reached its peak, Buckminster Fuller proposed a massive dome over Manhattan, while Frei Otto envisioned one to shelter 40,000 people in the Arctic Circle. What came next in "inflatotecture" was symptomatic of the counterculture era, which viewed it as a way to construct space for dissent and experimentation while taking advantage of lighter, stronger construction methods and new audiovisual technologies. Ant Farm, a San Francisco–based architecture studio, designed inexpensive and disposable structures out of vinyl for counterculture “happenings,” and anyone attending them could buy the group’s Inflatocookbook, a comic detailing step-by-step how to make one’s own enclosure (a practice common among collectives to disseminate information and design about inflatables). Other contemporaries included the U.K.'s Archigram, Italy's Archizoom, and Germany-based Haus-Rucker-Co.—all of whom envisioned inflatable architecture as a way to explore theories about spatial production, social organization, and consumption. Experimental inflatable architecture continues to be a form that designers use to examine contemporary social problems and to radically play with form and space for its own sake. The following projects stretch the medium to its limits, showing how the next generation of inflatables can generate new experiences. Jesse Seegers Looking to practice new forms of architecture outside of the traditionally accepted profession, New York-based designer Jesse Seegers employs the term “spatial practice,” a framework to create structures that draw from architectural knowledge but are equally related to other disciplines. For example, the Potlatch Pavilion was an ethereal inflatable for a gift exchange party, referencing the Pacific Northwest indigenous American tradition where one’s status is derived from how much you can give away, rather than how much wealth you possess. Here, the inflatable was deployed to “construct alternative systems of political economy.” Seegers’s recent projects include a temporary yoga space called Yoga Dome, which premiered at the opening of Sky Ting Yoga; an installation at a Pioneer Works exhibition on Ant Farm; a concert backdrop for musician SOPHIE’s live tour; and an inflatable landscape for musician Oneohtrix Point Never’s M.Y.R.I.A.D. concert at New York’s Park Avenue Armory. In 2017, Seegers helped French, Los Angeles–based architect François Perrin bring Reyner Banham and François Dallegret’s 1965 conceptual drawing The Environment Bubble to life as a site-specific installation for dance workshops in Brooklyn Bridge Park and Central Park as part of Performa 17. Alex Schweder “An inflatable space in process speaks to the bodies we have. It’s a fleshier, time-based architecture,” said Alex Schweder. The self-proclaimed performance architect began working with inflatables in 2005 at the American Academy in Rome, where his first blow-up installation, Sick Building Sequence, encapsulated feathers floating inside of a translucent plastic “room.” Since then, his inflatables have traversed Collective Design Fair, Tel Aviv Museum of Art, the Venice Architecture Biennale, Tate Britain, and Performa 17. These include a “room” with photosensitive fur, an inflatable hotel inside of a cherry picker, a floor-to-ceiling mass that collapses and expands into and away from itself, and a spiderlike robot that inflates and deflates to reconfigure space on a dance floor. What’s next? Schweder is working with a team of international artists on a traveling show that responds to László Moholy-Nagy’s Mechanized Eccentric, which will debut at the Bauhaus 100th anniversary next year. Seattle Design Nerds Formed in 2014 as a volunteer nonprofit organization dedicated to designing for the public realm, the group is officially the Seattle-based chapter of the international Design Nerds Society. Known for their inflatables, Seattle Design Nerds is a multidisciplinary collab started by Jeremy Reeding and Trevor Dykstra. The pair works with other local architects, designers, and artists on public interest projects to “make Seattle a little more awesome.” True to their mission, Reeding and Dykstra’s first inflatable was a large-scale installation for the 2014 Seattle Design Festival Block Party, a pop-up space shaped like a giant monster and filled with random objects for play. The team veered into the conceptual realm with The Gas Trap, a performance work where a car's tailpipe seemingly fills the inflatable to illustrate our dependence on gasoline. Last year they dreamed up an installation at the Seattle Art Museum's Olympic Sculpture Park composed of eight cuddly, inflatable orbs that change color when bopped. For the 2017 Seattle Design Festival Block Party, the group envisioned an illuminated inflatable mural crafted by visitors at the event with Velcro pixels. Their latest work for Cooper Hewitt’s Design with the Other 90% features a giant egg-shaped inflatable that will debut at the Bill & Melinda Gates Foundation Discovery Center in Seattle in mid-September. Nicolas KK A young Nicolas KK grew up in Brazil in a family of hot air ballooners. From these beginnings, he developed an innate understanding and appreciation of the form. Putting his “family stuff” to good use, he started making his own blow-ups while studying industrial design at the Maryland Institute College of Art. That trajectory has continued through collaboration with digital, audio, and light artists in a shared studio in Bushwick, Brooklyn, called Future Space. Inspired by the inflatables of the 1960s and ’70s, Nicolas KK produces experimental structures by applying his expertise in computational design. His digitally driven experimental performance pieces create “dynamic” qualities and always include a programmable element that directly responds to existing digital infrastructures or naturally occurring biomimetic systems. Nicolas KK plans to study Integrative technologies and architectural design research at the University of Stuttgart in Germany, where he will continue to work with inflatables and collaborate with other artists on projects that respond to the emerging computational environment. In December, New York's New Museum will debut his work in an online exhibition described as “the original live desktop theater internet television show.” Pneuhaus Matt Muller, Augie Lehrecke, and Levi Bedall spearhead the Rhode Island-based design collective Pneuhaus dedicated to the mastery of all things inflatable, specifically spatial designs, temporary structures, contemporary art, and large-scale installations. It all started at Rhode Island School of Design (RISD) in 2014 when Muller and Lehrecke designed a handful of different inflatables inspired by Art Farm’s Inflatocookbook. The university hired them to continue to explore those ideas and design a space for the school’s annual design conference. Soon after, Beddall joined Muller and Lehrecke when they got their first professional commission to design-build and perform a circus for the RISD Museum. Since then, the trio has imagined transient spaces for Spotify, Burning Man, and Brown University. Ranging from inflatable fabric prisms built around the fundamental properties of light to inflatables outfitted with pinhole cameras, their growing list of projects develop as iterations of previous works. Their most recent project, Compound Camera no. 2, is a new iteration of the pinhole camera inflatable dome as a giant tunnel at the LUMA Projection Arts Festival in Binghamton, New York.
Iconic French Modernist architect Paul Andreu has passed away at age 80. The legendary designer is best known for the futuristic designs he created for France’s Charles de Gaulle Airport (CDG) outside of Paris, where Andreu served as chief architect between 1967 and 2002. Andreu was spotted in a group photo featuring Dominique Perrault, Christian de Portzamparc, Tadao Ando, Renzo Piano, and Jean Nouvel on social media last week while attending a dinner at the Centre Pompidou honoring architect Ando; France’s Le Monde, reported that Andreu appeared to be very tired to several journalists at the event. Andreu passed away just a few days later.
Andreu is credited with the airport’s signature Modernist design elements, including the much-Instagrammed Terminal 1 at the airport. The circular building is punctuated by a skylight-topped atrium that is crisscrossed by sloping, glass tube escalators, elements that help bring people from upper-level drop-off and check-in areas to the shopping and terminal levels located below. Andreu joined the project partway through design—development for the airport had begun in 1964—and is credited with the drum-shaped design for the terminal. The iconic structure features singularly-programmed floor plates and its design was inspired by the form of an octopus. Andreu was also chief designer for the airport's other terminals. In 2002, a partial collapse at the then-under-construction Terminal 2E resulted in the deaths of four people. Independent investigators did not find a singular cause for the failure but instead blamed tight budgetary constraints and a resulting lack of margin of error in the safety-related elements for the tragedy. Andreu, in turn, blamed contractors for preparing a faulty concrete mix for the structure, which was designed as a thin concrete barrel vaulted system. Eventually, the collapsed elements were demolished and replaced with a new terminal of more conventional design. Architectural Record reported that before his career-defining work at CDG, Andreu worked as chief of construction on the Johan Otto von Spreckelsen-designed Grande Arche monument in Paris’s La Defense district. The arch was built to commemorate the 200th anniversary of the French Revolution and was inaugurated in 1989. According to Structurae, Andreu was also responsible for the design of many other airports around the world, including the Jakarta Airport in 1986 and airports in Tehran, Iran and Harare, Zimbabwe, both from 1996. Andreu also designed the Beijing Opera and Oriental Arts Center in Shanghai, China, in 2002.
At an awards ceremony at Manhattan’s Center for Architecture on October 8, representatives from AIA New York (AIANY) and the New York chapter of the American Society of Landscape Architects (ASLANY) gathered for the first annual Transportation + Infrastructure Design Excellence Awards (T+I Awards). The winners, winnowed down from a pool of 67 entrants, showed excellence in both built and unrealized projects related to transportation and infrastructure, with a heavy emphasis on work that integrated sustainability and engaged with the public. Outstanding greenways, esplanades, and transit improvement plans were lauded for their civic contributions. A variety of merit awards were handed out to speculative projects, and the Regional Plan Association (RPA) was honored a number of times for the studies it had commissioned as part of the Fourth Regional Plan; it was noted that many of the solutions proposed in past Regional Plans had eventually come to pass. The jury was just as varied as the entrants: Donald Fram, FAIA, a principal of Donald Fram Architecture & Planning; Doug Hocking, AIA, a principal at KPF; Marilyn Taylor, FAIA, professor of architecture and urban design at the University of Pennsylvania; David van der Leer, executive director of the Van Alen Institute; and Donna Walcavage, FASLA, a principal at Stantec. Meet the winners below:
Best in CompetitionThe Brooklyn Greenway Location: Brooklyn, N.Y. Designers: Marvel Architects, Nelson Byrd Woltz Landscape Architects, WE Design Landscape Architecture, eDesign Dynamics, Horticultural Society of New York, and Larry Weaner Landscape Associates Now six miles long and growing, the waterfront Brooklyn Greenway project kicked off in 2004 with a planning phase as a joint venture between the nonprofit Brooklyn Greenway Initiative (BGI) and the RPA. The 14-mile-long series of linear parks has been broken into 23 ongoing capital projects under the New York City Department of Transportation’s purview—hence the lengthy list of T+I Award winners. Funding is still being raised to complete the entire Greenway, but the BGI has been hosting events and getting community members involved to keep the momentum going.
HonorHunter's Point South Park Location: Queens, N.Y. Park Designers: SWA/Balsley and Weiss/Manfredi Prime Consultant and Infrastructure Designer: Arup Client: New York City Economic Development Corporation With: Arup The second phase of Hunter’s Point South Park opened in June of this year and brought 5.5 new acres of parkland to the southern tip of Long Island City. What was previously undeveloped has been converted into a unique park-cum-tidal wetland meant to absorb and slow the encroachment of stormwater while rejuvenating the native ecosystem. Hunter’s Point South Park blends stormwater resiliency infrastructure with public amenities, including a curved riverwalk, a hovering viewing platform, and a beach—all atop infill sourced from New York’s tunnel waste.
MeritRoberto Clemente State Park Esplanade Location: Bronx, N.Y. Landscape Architect: NV5 with Mathews Nielsen Landscape Architects Client: New York State Office of Parks, Recreation, and Historic Preservation With: AKRF, CH2M Hill
CitationSpring Garden Connector Location: Philadelphia, Pennsylvania Landscape Architect: NV5 Client: Delaware River Waterfront Corporation With: Cloud Gehshan, The Lighting Practice
MeritThe QueensWay Location: Queens, N.Y. Architect: DLANDstudio Architecture and Landscape Architecture, and WXY Architecture + Urban Design Client: The Trust for Public Land Could a High Line ever land in Queens? That’s what The Trust for Public Land set out to discover, tapping DLAND and WXY to imagine what it would look like if a 3.5-mile-long stretch of unused rail line were converted into a linear park. The project completed the first phase of schematic design in 2017 using input from local Queens residents, but fundraising, and push-and-pull with community groups who want to reactivate the rail line as, well, rail, has put the project on hold.
MeritNexus/EWR Location: Newark, N.J. Architect: Gensler Client: Regional Plan Association With: Ahasic Aviation Advisors, Arup, Landrum & Brown
MeritThe Triboro Corridor Location: The Bronx, Brooklyn, and Queens, N.Y. Architect: One Architecture & Urbanism (ONE) and Only If Client: Regional Plan Association Commissioned as part of the Fourth Regional Plan, Only If and ONE imagined connecting the outer boroughs through a Brooklyn-Bronx-Queens rail line using existing freight tracks. Rather than a hub-and-spoke system with Manhattan, the Triboro Corridor would spur development around the new train stations and create a vibrant transit corridor throughout the entire city.
HonorFulton Center Location: New York, N.Y. Design Architect: Grimshaw Architect of Record: Page Ayres Cowley Architects Client: NYC Metropolitan Transit Authority With: Arup, HDR Daniel Frankfurt, James Carpenter Design Associates Fulton Center was first announced in 2002 as part of an effort to revive downtown Manhattan’s moribund economy by improving transit availability. Construction was on and off for years until the transit hub and shopping center’s completion in 2014, and now the building connects the 2, 3, 4, 5, A, C, J, and Z lines all under one roof (the N, R, and W trains are accessible through an underground passage to Cortlandt Street). Through the use of a large, metal-clad oculus that protrudes from the roof of the center, and the building’s glazed walls, the center, which spirals down from street level, is splashed with natural light.
MeritNumber 7 Subway Line Extension & 34th Street-Hudson Yards Station Location: New York, N.Y. Architect: Dattner Architects Engineer of Record: WSP Client: MTA Capital Construction With: HLH7 a joint venture of Hill International, HDR, and LiRo; Ostergaard Acoustical Associates; STV
MeritMississauga Transitway Location: Ontario, Canada Architect: IBI Group Client: City of Mississauga, Transportation & Works Department With: DesignABLE Environments, Dufferin Construction, Entro Communications, HH Angus, WSP
MeritDenver Union Station Location: Denver, Colorado Architect: Skidmore, Owings & Merrill (SOM) Landscape Architect: Hargreaves Associates Client: Denver Union Station Project Authority (DUSPA) With: AECOM, Clanton & Associates, Kiewit Western, Tamara Kudrycki Design, Union Station Neighborhood Company
StudentTurnpike Metabolism: Reconstituting National Infrastructure Through Landscape Student: Ernest Haines Academic Institution: MLA| 2018, Harvard Graduate School of Design Anyone’s who’s ever cruised down a highway knows that equal weight isn’t necessarily given to the surrounding landscape. But what if that weren't the case? In Turnpike Metabolism, Ernest Haines imagines how the federal government can both give deference to the natural landscapes surrounding transportation infrastructure and change the design process to allow nature to define routes and structures.
A few years ago, it would have been impossible to predict that Casper, a startup with a single product, would launch an entire industry of mattresses ordered sight unseen online and become a global sleep powerhouse. It was inevitable that the company would outgrow the house where it was brainstorming the next breakthrough. That its new prototyping space, Casper Labs, is now based in a former industrial laundry service in San Francisco’s Mission District is an apt metaphor for the city’s tech-driven transformation. The company tapped hometown design firm Spiegel Aihara Workshop (SAW), led by principals Dan Spiegel and Megumi Aihara, to convert the warehouse space into its R&D headquarters. SAW’s design for the 11,500-square-foot, two-story office attests to the demands of an industrial workspace where mattresses and heavy prototypes are tested and hauled around. But it is also filled with nods to the company’s association with pillowy softness. The architects achieved this with an unlikely material—corrugated steel in a range of perforated profiles that are meticulously layered to read like fabric. “With a rough industrial material, it was about finding ways to give it a textile nature,” explained principal Dan Spiegel. “Once we had that in play, we could experiment with transparency.” On the ground floor, the white, powder-coated steel unravels at different heights, wrapping the metal shop, a testing lab, and a wood shop with rounded corners that reference the company’s iconic mattress. The opaque surface fades to a translucent screen as it rises above eye level. In other areas, the steel walls mask storage and service areas through a one-way transparency, admitting natural light without allowing views in. This play between opacity and transparency is further demonstrated in the entry area, where the Casper logo glows behind a corrugated surface. All it takes is the flick of a light switch for the letters, along with all the other signage in the space, to disappear. “We like the mystery that set up,” said Spiegel. “Even though there’s a lot of what ended up being opaque surfaces, you could begin to imagine that all of them had something going on just behind that skin.” With much of the program left open-ended for collaboration, the main work areas feature doorless openings lined in oiled steel plate that echo the steel columns that came with the space. The custom entryway desk continues the motif of rounded corners and transparency but incorporates a warm wood framing that takes its cue from the wood joists in the ceiling, with the whole piece sliding easily out of the way to access storage beyond it. Another design touch that highlights the tension between heavy and light, the industrial and the domestic, hovers above the common area for all-hands meetings. There, SAW’s custom lighting fixture floats like a geometric cloud composed of 117 Casper pillowcases folded and twisted onto a welded, tubed steel frame. It is details like these that elevate the lab beyond a typical industrial facility and gesture at the space’s raison d’être: a good night’s sleep.
California’s Orange County Museum of Art to open satellite location while Morphosis builds
The Orange County Museum of Art (OCMA) in Santa Ana, California, is planning to open a new temporary gallery space in the South Coast Plaza Village on November 3 as work on a new 52,000-square-foot facility by Morphosis gets underway. The temporary facility—dubbed OCMAEXPAND-SANTA ANA—will be located in a former retail space in the Victor Gruen–designed shopping mall and will host five seasons’ worth of exhibitions between this fall and 2021 when the new museum opens. This year’s inaugural season will feature exhibitions by the artists Kathryn Garcia, Valentina Jager, Alan Nakagawa, Mariángeles Soto-Díaz, Rodrigo Valenzuela, and Ni Youyu and will be on view through March 17, 2019. Todd D. Smith, director of OCMA, said in a statement, “As we build our new home at Segerstrom Center, we have a unique opportunity to broaden our programs and our reach—OCMAEXPAND is a guiding principle, an umbrella term, for the museum during the transition.” Smith went on to characterize the pop-up museum and its new name as “a call to action for the organization. It’s meant to push us to think differently and more creatively about how we engage audiences today and into the future.” Cassandra Coblentz, senior curator and director of public engagement for OCMA, explained further, “Our goal is to create a dynamic space for artistic innovation, experimentation, and dialog.” The museum plans to do this by focusing exhibition on artists and topics relevant to California and the Pacific Rim, a major initiative the institution has undertaken in recent years. The Morphosis-designed complex will begin to rise nearby at the Segerstrom Center for the Arts—a cultural complex that includes an existing concert hall and reperatory—starting in 2019. Morphosis’s plans call for 25,000 square feet of dedicated exhibition space, 10,000 square feet of multipurpose, educational, and performances spaces, and a sculpture terrace with capacity for 1,000 occupants. The striated, wind-swept complex is being designed in virtual reality and will ultimately leave close to 70 percent of the surrounding site open for public use.
On This Rock I Will Build My Tower
Detroit’s upcoming tallest tower teeters on final decision of total height
Downtown Detroit is slated to build one of the tallest buildings in the Midwest, set over the former footprint of the city’s iconic J.L. Hudson department store. Though construction on the project has already begun, the exact height of the soaring structure remains unresolved. Crain’s Detroit Business reported that the $909-million mixed-use tower planned for the long-vacant Hudson site could reach as high as 912 feet—an increase of over 100 feet from previous estimates. But the developers won’t make a final decision on its height until the end of January. This is the third time Bedrock LLC, owned by Quicken Loans founder Dan Gilbert, has increased its estimated elevation and updated the design. The complex is being designed by Detroit-based Hamilton Anderson Associates and SHoP Architects. Though the skyscraper won’t make the list of top 10 tallest towers in the country, it will break the record for the largest high-rise in the Motor City. As of now, the design shows the tower next to a nine-story podium connected by a public plaza and alleyway. It’s anticipated to include programming for residential space, and potentially room for hotel or commercial use. The additional 112 feet of height would allow the architects more flexibility in designing the building's various programs, according to Crain’s. Per the current designs, that number coincides with the established length of the elevator core. The project was first announced in February 2017 with the tower reaching a maximum height of 734 feet. It was projected to feature space for retail and restaurants, events and conferences, offices and exhibits, as well as residential units. A public observation deck and an underground parking garage were also cited in the initial plans. Current renderings reveal two glass-clad, boxy constructions with outdoor terraces and greenspace. The project is estimated to take four-to-five years to complete. Demolition of the existing parking garage on site is nearly finished and foundation work is already underway.
Hollywood Park Rises
Renderings unveiled for mixed-use neighborhood around L.A.’s new NFL stadium
A project team led by developers Wilson Meany and Stockbridge has unveiled the latest batch of renderings for a 2,500-unit mixed-use neighborhood set to rise around the forthcoming Los Angeles Rams stadium in Inglewood, California. Gensler, BCV Architecture + Interiors, Architects Orange, and Hart Howerton are providing architectural design services for the project while Studio-MLA is the landscape architect for the 298-acre site, Curbed reports. The new HKS Architects–designed, $2.66-billion stadium is in the midst of heavy construction and topped out earlier this year. The teardrop-shaped structure will come wrapped in over 36,000 perforated metal panels and will be punctuated by a large-format elliptical screen located at its uppermost levels that will play advertisements and other graphic projections. A large artificial lake will be located beside the stadium, as well, and will feature a series of waterfalls. The stadium is due to be completed in 2020. According to a project website, the new surrounding neighborhood will open in phases starting in 2020 with an initial batch of 314 apartments of various configurations, including three-bedroom units, spread out over two structures. Eventually, the development will contain 2,500 dwelling units, 620,000-square feet of retail spaces, a 300-key hotel, and a new casino. The new renderings portray a series of porous outdoor shopping areas connected by covered outdoor spaces, programmed landscape areas, and indoor-outdoor venues like a foodie-friendly dining hall and several covered lounge areas. The plans also call for a long and narrow amphitheater and a performance stage. Residential areas for the development will see structures two- to four-stories in height while the hotel complex is slated for a five-story structure anchored by groundfloor retail. An unspecified amount of office space will also be included in the project. The size and market-driven nature of the new development—there are no new affordable housing units slated in conjunction with the project—has already jump-started gentrification in the renter-heavy, predominantly working-class area. Estimates indicate that property values have increased by as much as 80 percent in recent years, Curbed reports. New housing and shopping are not the only things coming to the area, however. A recently-unveiled plan seeks to link the new neighborhood with the regional transit system by building a new 1.8-mile automated people mover. The new infrastructure aims to provide easy access to the site when it will be used as a venue during the 2028 Olympic games, which Los Angeles is hosting across a series of scattered regional sites and facilities that will include the new stadium complex. *Correction: This story incorrectly reported that 3,000 housing units were being built in conjunction with the development; The correct figure is 2,500 units.
Tags and Timelines
Landmark exhibit explores the rise of hip-hop architecture
The Center for Architecture’s latest exhibition in New York City, Close to the Edge: The Birth of Hip-Hop Architecture, combines 20 years of research on a movement that’s barely been covered before and is at the cusp of exploding. Hip-hop architecture, the movement on view, could become the next big design style despite historically being a lesser-known development compared to the global impact of hip-hop culture on music, film, and dance industries. By tackling issues such as hip-hop's role in identity and placemaking, Syracuse University professor Sekou Cooke curated a special exhibition that details the theoretical and physical rise of hip-hop architecture in the built environment and how it can inform a more inclusive design practice for the future. Now showing in New York through January 12, this comprehensive exhibit unveils the work of 21 architects, professors, and students who have imagined architecture as a distinct part of hip-hop’s cultural expression. The show chronicles these figures through history, starting with the “godfather of hip-hop architecture,” Nate Williams, who completed his thesis on the subject at Cornell University in 1993. Also on display is the work of Boris “DELTA” Tellegen of Heren 5, artists Olalekan Jeyifous and Lauren Halsey, and more. Layered behind the images, drawings, and models in the show is extensive tagging done solely in black by pioneering graffiti artist David “Chino” Villorente. Complemented by graphic design from WeShouldDoItAll, the graffiti brings a visual punch to the Center’s main gallery spaces and transforms their walls into a medium for cultural commentary. Repurposed shipping containers painted white are bolted to the walls, providing another layer of backdrop for the framed artwork. Not only is the exhibit eye candy for visitors and passersby, it also includes audio and video components of lectures, podcasts, and hip-hop music reflecting on the built environment. At Monday’s opening reception, Barry Bergdoll, the new board president of the Center, called Close to the Edge a “landmark exhibition” for the movement of hip-hop architecture and compared it to Philip Johnson’s seminal Modern Architecture International Exhibition at the Museum of Modern Art in 1932. That exhibition drew wide praise and helped usher in the International Style in the United States—something similar to what Cooke and his team hopes will come out of this effort. The Center will host the Hip-Hop Architecture Symposium on Saturday, October 6 from 1 to 6 p.m., moderated by Cooke, as well as a workshop with BlackSpace that will explore architecture as a tool for Black cultural preservation.