Search results for "9/11 museum"
Tokyo government approves Zaha Hadid's designs for the 2020 Tokyo Olympics Stadium while controversy continues
From the architects: "Remembering the fallen Twin Towers through their surviving physical structural footprints, the 9/11 Memorial Museum stands witness to the tragedy and its impact."John Wardle Architects and NADAAA Melbourne School of Design Melbourne, Australia
From the architects: "The new building for the Faculty of Architecture, Building and Planning responds to the urban design values identi- fi ed in the Campus Master Plan and enhances the existing open spaces within the historic core of the Centre Precinct of the Parkville Campus. It engages with the existing landscape elements, continues the sequence of outdoor rooms arrayed across the campus, and links strongly to the intricate network of circulation routes that surround the site. The new building compliments and enhances the sense of place that the Eastern Precinct of the Parkville Campus already commands."REX Vakko Fashion Center Istanbul, Turkey
From the architects: "Turkey’s pre-eminent fashion house, Vakko, and Turkey’s equivalent of MTV, Power Media, planned to design and construct a new headquarters in an extremely tight schedule using an unfinished, abandoned hotel. Fortuitously, the unfinished building had the same plan dimension, floor-to-floor height, and servicing concept as another one of our projects, the Annenberg Center’s 'Ring', which had been cancelled. By adapting the construction documents produced for that project to the abandoned concrete hotel skeleton, construction on the perimeter office block commenced only four days after Vakko/Power first approached our team. This adaptive re-use opened a six-week window during which the more unique portions of the program could be designed simultaneous to construction."ROGERS PARTNERS Architects+Urban Designers Henderson-Hopkins School Baltimore, MD
From the architects: "The new Elmer A. Henderson: A Johns Hopkins Partnership School and The Harry And Jeanette Weinberg Early Childhood Center, together called Henderson Hopkins, is the fi rst new Baltimore public school built in 30 years. A cornerstone for the largest redevelopment project in Baltimore, it is envisioned as a catalyst in the revitalization of East Baltimore. The seven-acre campus will house 540 K-8 students and 175 pre-school children."WEISS/MANFREDI Architecture/Landscape/
From the architects: "A botanic garden is an unusual kind of museum: a fragile collection constantly in flux. As a constructed natural environment, it is dependent on man-made infrastructures to thrive. New York City’s Brooklyn Botanic Garden contains a wide variety of landscapes organized into discrete settings such as the Japanese Garden, the Cherry Esplanade, the Osborne Garden, the Overlook, and the Cranford Rose Garden. The Botanic Garden exists as an oasis in the city, visually separated from the neighborhood by elevated berms and trees."WEISS/MANFREDI Architecture/Landscape/
From the architects: "The newly-opened Krishna P. Singh Center for Nanotechnology demonstrates the University of Pennsylvania’s leadership in the emerging field of nanotechnology. Nanoscale research is at the core of cutting-edge breakthroughs that transcend disciplinary boundaries of engineering, medicine, and the sciences. The new Center for Nanotechnology contains a rigorous collection of advanced labs, woven together by collaborative public spaces that enable interaction between different fields. The University’s first cross disciplinary building, the Singh Center encourages the exchange and integration of knowledge that characterizes the study of this emerging field and combines the resources of both engineering and the sciences."Merit Awards Garrison Architects NYC Emergency Housing Prototype Brooklyn, NY H3 Hardy Collaboration Architecture Theatre for a New Audience at Polonsky Shakespeare Center Brooklyn, NY Jaklitsch / Gardner Architects Toroishiku (Marc Jacobs Building) Tokyo, Japan Louise Braverman, Architect Village Health Works Staff Housing Kigutu, Burundi Maryann Thompson Architects Pier Two at Brooklyn Bridge Park Brooklyn, NY OPEN Architecture Garden School Beijing, China PARA-Project Haffenden House Syracuse, NY Skidmore, Owings & Merrill University Center – The New School New York, NY Thomas Phifer and Partners Project: United States Courthouse, Salt Lake City Location: Salt Lake City, UT Tod Williams Billie Tsien Architects Project: Reva and David Logan Center for the Arts Location: Chicago, IL
On December 12, in New York City, seven jurors convened to evaluate and discuss more than 200 projects submitted to AN's second annual Best Of Design Awards.
The jury included Thomas Balsley, of Thomas Balsley Associates; Winka Dubbeldam, of ARCHI-TECTONICS; Kenneth Drucker, of HOK; Chris McVoy, of Steven Holl Architects; Craig Schwitter, of Buro Happold; Annabelle Selldorf, of Selldorf Architects; and Erik Tietz, of Tietz-Baccon.
This year, the jury reviewed projects submitted in nine categories, including Best Facade, Best Landscape, Best Single Family House, Best Multi-Family Residential, Best Residential Interior, Best Non-Residential Interior, Best Fabrication Project, Best Student Built Work, and Building of the Year.
In some categories the jury selected a winner and honorable mentions, in others just winners, and in one, Single Family House, they selected a tie between two winners. Over the next six days we will be posting all of the jury’s selections, starting with our winner and honorable mentions for the Building of the Year.
Henderson Hopkins is the first new public school built in Baltimore in 30 years. A cornerstone for the largest on-going redevelopment project in the city, an essential part of its mission is to serve as a catalyst in the revitalization of East Baltimore, housing innovative early childcare facilities, a school, and shared resources for residents and businesses.
The seven-acre campus accommodates 540 students in kindergarten through eighth grade, and 175 pre-school children. Rogers Partners’ design was guided by four key principles: community engagement, integrated urban planning, architecture of its place, and progressive education. The program was put together based on the wants of the local residents. The site planning and building massing take their cues from the surrounding urban fabric. The community’s cultural heritage informed the architectural language. And the architecture was designed with flexibility in mind, so that it will be capable of adapting to evolving pedagogies over time.
“What was achieved here at a very modest budget was really impressive. Not just in the planning, but in the use of materials, of open spaces, of the entire way that the school operates. They just never let up on this thing.”—Craig Schwitter
Building Of The Year Honorable Mention
The National September 11 Memorial Museum at the World Trade Center
New York City
Davis Brody Bond
Davis Brody Bond took on the daunting task of creating a museum to house the World Trade Center site remains and artifacts. The firm’s goal was to create a space capable of giving each visitor a personal connection with the events of 9/11.
To do this, the design introduces visitors to the museum gradually, via a ramped descent. The sequence by which visitors come across relics of the disaster and obtain an understanding of the architectural framework allows each individual to develop their own reckoning with the space, its monumental features, and the depth of the human tragedy that occurred on the site.
Building Of The Year Honorable Mention
Edith Green Wendell Wyatt Federal Building
Cutler Anderson Architects and SERA
This renovation of a 1960s SOM government building transformed the structure from an energy consuming Class B office block to a LEED Platinum Class A tower. The architects designed a high performance curtain wall to replace the precast concrete paneled facade, increasing the interior space by 26,000 square feet.
The energy efficient skin is shaded by a vertical brise soleil calculated to respond to the sun in Portland, reducing heat loading while proving glare-free daylight in the interior. Inside, the architects cut away at the building to expose its structure, giving tenants a direct connection to its history.
Key elements of this office building include a formal reception space with a physical and visual connection to the building lobby, a conference center, an auditorium with tiered seating, break-out areas for receptions, and slab openings on typical office floors for visual connection to other floors. The building has two primary street-facing sides and two sides that face an alley. To create parity between the two, the design places key elements on the alley side of the building to draw people from the front to the back for collaboration and support functions. Glass was used to shape offices and conference rooms and to blur the line between circulation and enclosed spaces.The Barbarian Group; New York City Clive Wilkinson Architects; Design Republic Partners Architects According to the AIA:
A 1,100-foot long table connecting as many as 175 employees—snaking up and down and through the 20,000-square-foot office space provides a digital marketing firm a medium for collaborating employees. To maintain surface continuity and facilitate movement through the space, the table arches up and over pathways, creating grotto-like spaces underneath for meetings, private work space, and storage. Dubbed the Superdesk, this table encourages connection and collaboration, makes conventional office furniture seem redundant, and challenges traditional ideas about what a modern office space should look and feel like.Beats By Dre; Culver City, California Bestor Architecture According to the AIA:
The Beats By Dre campus was designed to reflect the diverse and innovative work undertaken in the music and technological fields. The main building is carved by a, two-story lobby that forms an axis and two courtyards to orient the work spaces. Courtyards connect to the varied working environments and include offices, open workstations, flexible work zones, and interactive conference rooms. The office plan encourages interaction and contact across departments by establishing a variety of calculated environments that exist within the larger workspace: peaceful, activated, elegant or minimal.Crystal Bridges Museum of American Art, Museum Store; Bentonville, Arkansas Marlon Blackwell Architect According to the AIA:
The work of a local Arkansas basket maker, Leon Niehues, known for his sculpturally ribbed baskets made from young white oak trees from the Ozarks, provided the design inspiration for the museum store, located at the heart of the Moshe Safdie, FAIA, designed museum (2011) in Bentonville, Arkansas. A series of 224 parallel ribs, made of locally harvested cherry plywood, were digitally fabricated directly from the firm’s Building Information Modeling delivery process. Beginning at the top of the exterior glass wall, the ribs extend across the ceiling and down the long rear wall of the store.Illinois State Capitol West Wing Restoration; Springfield, Illinois Vinci Hamp Architects According to the AIA:
The West Wing of the Illinois State Capitol is the second phase of a comprehensive renovation program of this 293,000-square-foot National Historic Landmark. Designed by French émigré architect Alfred Piquenard between 1868 and 1888, the Capitol represents the apogee of Second Empire design in Illinois. Over the years inappropriate changes were made through insensitive modifications and fires. The project mandate was to restore the exuberant architecture of the West Wing’s four floors and basement, while simultaneously making necessary life safety, accessibility, security and energy efficient mechanical, electrical, & plumbing system upgrades.Louisiana State Sports Hall of Fame and Regional History Museum; Natchitoches, Louisiana Trahan Architects According to the AIA:
The Louisiana State Museum merges historical and sports collections, elevating the experience for both. Set in the oldest settlement in the Louisiana Purchase on the banks of the Cane River Lake, the quiet yet innovative design reinterprets the geometry of the nearby plantation houses and the topography of the riverfront; between past and future. Spaces flow together to accommodate exhibits, education, event and support functions. The hand-folded copper container contrasts with the digitally carved cast-stone entry and foyer within, highlighting the dialogue between the manmade and the natural.National September 11 Memorial Museum; New York City Davis Brody Bond According to the AIA:
The 9/11 Memorial Museum is built upon the foundations of the Twin Towers, 70 feet below street level. Visitors reach the museum via a gently sloped descent, a journey providing time and space for reflection and remembrance. Iconic features of the site, such as the surviving Slurry Wall, are progressively revealed. This quiet procession allows visitors to connect to their own memories of 9/11 as part of the experience. Located at the site of the event, the museum provides an opportunity to link the act of memorialization with the stories, artifacts and history of that day.Newport Beach Civic Center and Park; Newport Beach, California Bohlin Cywinski Jackson According to the AIA:
The Newport Beach Civic Center and Park creates a center for civic life in this Southern California beachside community. Nestled within a new 17-acre park, the City Hall is designed for clarity and openness. A long, thin building supporting a rhythmic, wave-shaped roof provides a light and airy interior, complemented by connections to outdoor program elements, a maritime palette, and commanding views of the Pacific Ocean. The project’s form and expression are generated by place and sustainability, as well as the City’s democratic values of transparency and collaboration.
AN's Crits provide a chance for our contributors and some of our in-house staff to share their thoughts, and raise questions, about some of the most talked-about projects around the country. This year included in-depth looks at the 9/11 Memorial Museum, the Perez Art Museum, and MoMA's controversial planned expansion.
Herzog & de Meuron's design blurs the distinction between inside and out.
Inga Saffron laments the controversial plan by Diller Scofidio + Renfro to demolish the American Folk Art Museum building.
Alan G. Brake descends into Davis Brody Bond's somber museum.
Minneapolis' multimodal transit station and public plaza hopes to catalyze real estate development.
James McCown admires Tadao Ando's latest American cultural project.
Michael Webb goes to Oregon and gets deep into his cups.
Patrick Tighe Architecture and John V. Mutlow Architecture join forces to bring housing to the needy.
Alan G. Brake surveys the remnant landscape of the newest section of the High Line.
Alan G. Brake looks around Fumihiko Maki's New York City skyscraper.
Aaron Seward reviews Shigeru Ban's first major post-Pritzker commission.
In the 12 ½ years since the Twin Towers were destroyed in a ghastly act of international terrorism, the 16 acres known as Ground Zero have stood largely apart from the city. Now, the fences are down on the South and West sides of the site, and the Memorial Plaza is beginning to function as a public space. While Michael Arad’s pools are effective in reminding visitors of the scale and magnitude of the destruction, Peter Walker’s unfolding sequence of trees, benches, lawn, ivy, and pavers softens the plaza and allows visitors to experience it in a variety of ways. Some may not think of 9/11 at all.
The just opened 9/11 Memorial Museum ensures that the horror of that single day will never be scrubbed from the site, even as much of the acreage returns to commercial purposes. Given the subject matter, the architecture of the museum is almost beside the point, which is to say that it effectively frames and backgrounds the artifacts, images, and sounds that viscerally evoke the experience of that day and its wrenching aftermath.
Visitors enter Snøhetta’s iceberg-like visitor’s pavilion, which is light and airy, but marred by a TSA-style security screening station. Large angled windows look out on to the plaza leading to escalators that begin the descent into the below-grade museum designed by Davis Brody Bond.
The descent is a long one. The architects created a deliberate sequence of ramps, stairs, and escalators that take visitors 70 feet below ground, a process that takes between 10 and 20 minutes, creating significant physical and psychological distance from the city above. The effect is purposefully somber. It is hard not to think about death.
A handful of artifacts—like a massive steel beam from the World Trade Center and the so-called “survivors’ stair”—and a few panels of text and discreet video projections are integrated into the 600-foot-long ramp, which the architects call “the ribbon.” The ramps are wide, offering plenty of room for visitors to move at their own paces, either alone or with fellow visitors. “We tried to strike a balance between a contemplative and a communal experience,” said Carl Krebs, the project’s lead architect with Steven Davis, both of Davis Brody Bond.
Wenge hardwood lines the ramp that terminates in a switchback that overlooks a vast space with an expanse of the exposed slurry wall and the steel beam known as the “last column.” As the procession continues, the visitor becomes increasingly acclimated to the experience. Where the ribbon reaches bedrock there is a vast wall covered in a large installation by artist Spencer Finch, comprising nearly 3,000 blue panels in different shades, each representing one of the victims. The panels frame the controversial quote from Virgil, “No day shall erase you from the memory of time.” A private space for the families is located behind the wall, containing the unidentified remains of victims. Flanking the wall are two galleries, one dedicated to an exhibition about 9/11 (which could change over time) and a permanent exhibition dedicated to memorializing the victims themselves. The bedrock level also includes several other artifacts, such as a half destroyed fire truck and a fragment of an elevator mechanism.
The two galleries sit on the exact footprints of the towers and visitors cross over the line of the original foundations to enter them. The exterior of each gallery, which rises to the ceiling, is clad in foamed aluminum panels. The surfaces are carefully lit (lighting design was by Fisher Marantz Stone), giving them a slightly ethereal, shimmering quality. While following the exact outline of the towers, the design does not attempt to replicate their appearance. The nearly 100,000-square-foot museum is largely devoid of scenographic elements. “Memory, authenticity, scale, and emotion were the guiding principles of the design,” said Davis.
Compared to the expansive spaces outside, the galleries are heavily programmed, filled with thousands of images, videos, and objects. They are overwhelming in both general and highly personal terms. The experience is immersive. The exhibitions largely stick to the facts of that day. Didactic or interpretive narratives are largely absent. There is little to debate or to divide viewers. One possible objection may come in the relatively small amount of space devoted to the Pentagon Attack and the crash of United 93 in Shankesville, Pennsylvania.
As a New Yorker who was in the city on 9/11 and watched the towers fall from the East Village, I can attest that the exhibitions (designed by a team including Thinc, Local Projects, and Layman Design) effectively capture the confusion of that day. The museum is a powerful project of documentation for future generations.
While the museum smartly allows for a variety of responses, many visitors will walk away saddened, disgusted by the senselessness of the attacks, and moved by stories of lives lost. The museum shows humanity at its most depraved and its most noble. Some may be unsure of the purpose of evoking such horror, but few will forget what they have seen.
Rael San Fratello’s signature blend of activism and architecture was forged in the months following 9/11, when founders Ronald Rael and Virginia San Fratello left New York for California. The pair, who met at Columbia University in the mid-1990s, founded their Oakland practice in 2002. Their first commission, for an adobe house near Marfa, Texas, fell through, but led to other work in the border town, including Prada Marfa (2005). “The post 9/11 political climate and the early work we did together in Texas and along the US Border have been very influential in our work,” wrote Rael and San Fratello in an email. “We consider the political, social, and environmental aspects of design central to our work.”
Matthew Millman; Courtesy Rael San Fratello
The US/Mexico border remains a focal point for the duo. “Because we were spending so much time adjacent to the border we found ourselves crossing it with frequency, walking along it and getting to know the people who live with this strange condition—the border fence—as part of their daily life,” wrote Rael and San Fratello. They had their own experience with border security during the site survey for Prada Marfa, when a group of Border Patrol agents surrounded them and peppered them with questions. Rael San Fratello’s 2009 Border Wall series approaches the issue with a combination of satire and empathy, reimagining the wall between the two countries as a literal fulcrum on which trade and labor relationships are balanced (Teeter Totter Wall); as life-saving infrastructure (Life Safety Border Beacon); and as a space of cross-cultural interaction (Burrito Wall).
Noel Kerns; Courtesy Rael San Fratello
Rael San Fratello’s work is characterized by a combination of natural materials—including earth and straw—and high technology. In 2012, the designers founded Emerging Objects, which develops new materials for 3D printing and aims to create printable building blocks. The firm’s recent projects include byproducts of their research on 3D printing, such as Saltygloo (2013), a dome constructed of bricks 3D printed from salt harvested from the San Francisco Bay. Yet even Rael San Fratello’s most technologically advanced projects circle back to their interest in putting architecture to work for the greater good. “It’s no coincidence that the first materials we started 3D printing with were clay and sand, or that we work with materials like mud brick, address social issues related to homelessness and environmental issues related to water conservation, or build galleries in the middle of Nowhere,” they wrote.