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Fool Me Once

The Glasgow School of Art announces full restoration after second fire

Charles Rennie Mackintosh’s Glasgow School of Art (GSA) is located on the summit of Renfrew Street, a visually prominent site within the historic core of Scotland’s largest city. The landmark suffered a tremendous fire on June 15, wiping away four years of restoration work begun after a 2014 blaze along with significant areas untouched by the initial damage. After much speculation, Murial Gray, the chair of university’s board, has announced to the Herald on Sunday that the GSA will be entirely restored “as Mackintosh designed it, to the millimeter.”

In December 2017, AN toured Page \ Park Architects' ongoing $40-million restoration of the structure. The Glasgow School of Art was constructed in two phases: the eastern section was opened in 1899 while the western section was completed a decade later. Now entirely lost, the remaining segments of the eastern section provided a glimpse of the design details that made the Glasgow School of Art one of the world's finest executions of the Art Nouveau style. 

Corridors and studio spaces within the building were illuminated by a clever series of projecting oriels, slanted skylights, and gaping multi-pane windows. The university's original boardroom, one rooftop studio space, and a large degree of woodwork remained intact. While the restoration was still over a year from completion, Page \ Park Architects had taken significant strides in bringing areas of the building to their original condition. Work on the upper loggia, "Henrun," and Studio 58–considered three of the most important spaces within the building next to the library and Mackintosh gallery–was well underway. All of that work was destroyed in this year's fire. Luckily, the last four years of restorative work required the extensive research of nearly every aspect of Mackintosh's design, from the iron-beam structure to the specific type and chemical treatment of wood finishes. Reconstruction is speculated to take between four and seven years, with myriad financing and regulatory concerns, but Gray notes that with the level of forensic detail collected on the building the design team "could practically 3-D print it."

Under the Microscope

Subculture show converts Storefront for Art and Architecture into living lab
Subculture: Microbial Metrics and the Multi-Species City is the new exhibition that will be held at New York City’s Storefront for Art and Architecture starting Tuesday, September 18. The exhibition will showcase the collaborative work of innovative scientists and designers, including Kevin Slavin, Elizabeth Hénaff, The Living, and Evan Eisman Company, who have merged biology, data science, and material science with design to provide viewers with a better understanding of the city's microscopic world. The gallery space will be transformed into an active genetic sequencing lab that will collect, extract, and analyze the microbes that dwell in our surrounding environment. Although the exhibition will center on fungi, bacteria, and other unspecified germs—facets of New York’s street life that most city-dwellers try to avoid like the plague—Subculture will force its visitors to come face to face with these microbes to better understand the ecologies and identities of the city’s buildings and spaces. Rather than focus on a single artist or architect, the exhibition highlights common goals that have linked the collaborators' careers over the past decade, including their commitment to reinterpreting the biological environment and providing insight into the future of design. These seemingly complex goals and ideas—represented through the installation in the gallery space, along with the analysis of various sites across the city such as rooftops, subway stations, and waterways—will be presented in a detailed and explicit manner within three distinct zones of the gallery. As one moves through the exhibition, they will find that each space has been dedicated to a specific process or idea, starting with the facade of the Storefront—an introductory area that will highlight the existence of microbial species in urban environments. The facade of the Storefront, like the remainder of the gallery space, is both modern and minimalistic, with its use of fine lines, colorless walls, and rotating geometric panels that intend to blur the border between the gallery and the street. Assembled on the doors of the facade will be a series of wood tiles that have been deliberately eroded to form a pattern of diverse microclimates. Throughout the duration of the exhibition, each tile will accumulate and host entire civilizations of microbes, which will later be extracted and analyzed within the gallery’s genetic laboratory. After exploring the concepts, images, and models on display at Subculture, visitors should come away with a better understanding of the goals of environmental architecture and design. The exhibit also urges its visitors to shun their common preferences for cleanliness and sterility, and provoke them to think of buildings as complex, evolving, and living organisms. Whether you are a scientist, architect, inquisitive scholar, or simply a resident of New York City, Subculture could help you discover the importance and presence of the bacterial diversity that dominates our urban lives.

How to Cook a Fox

COOKFOX and Gensler unveil office towers for Water Street Tampa
Water Street Tampa, a massive new mixed-use waterfront neighborhood, will receive two new high-tech office buildings courtesy of New York's COOKFOX Architects and Gensler. The two towers will be the first to rise in the development and will be Tampa, Florida’s, first ground-up office towers in 25 years. Combined, both buildings will bring nearly one million square feet of office space to Water Street Tampa, the first WELL-certified neighborhood in the world according to developer Strategic Property Partners (SPP). COOKFOX’s design for 1001 Water Street is reminiscent in form of New York’s classic cast-iron buildings, complete with a crowning cornice. The 20-story, mixed-use tower will hold 380,000 square feet of offices, and from the renderings, it looks like COOKFOX has integrated its signature biophilic touch. Nine planted, double-height terraces will wrap around the exterior of 1001 Water Street, and the building will be capped by a landscaped rooftop terrace. Inside, tenants and the general community will be able to make use of the Water Street Tampa wellness community center. No square footage has been given as of yet for the non-office components. 1001 Water Street will be connected to the University of South Florida’s Morsani College of Medicine courtesy of a Nelson Byrd Woltz Landscape Architects–designed plaza. Gensler has taken a decidedly glassier approach at 400 Channelside, offsetting glass-clad volumes to create a 500,000-square-foot, 19-story office tower. The building, much like COOKFOX’s, was designed with a focus on connecting tents with the outdoors and will include a 30,000-square-foot, landscaped “sky garden” on the fourth floor. Much like 1001 Water Street, 400 Channelside will also include floor-to-ceiling windows. Both buildings will be WELL and LEED certified­, though to what level hasn’t been revealed yet, and are expected to open sometime in 2020 or 2021. Once the new neighborhood is fully built out, Water Street Tampa will feature 2 million square feet of office space and is expected to serve up to 23,000 residents and visitors daily.

Ace Architecture

Check out these eight unmatched tennis courts from around the world
Tennis courts may be universally designed in the same way, but their topographic location can change the entire look and feel of playing the great game. In honor of the US Open, we’ve rounded up some of the world’s most architecturally impressive courts. From the ever-imaginative buildings within the United Arab Emirates to the secret spaces of Paris, these amazing athletic facilities placed in unbelievable settings feature inspired designs that date from present day, all the way back to the late 19th century. Take a scroll and let your sporty side roam around the globe with these ace spaces: The Couch, Amsterdam, The Netherlands The IJburg Tennis Club near Amsterdam houses 10 clay courts, a tennis school, and a temporary communal building with integrated rooftop seating designed by Dutch firm MVRDV. Acting as a giant piece of street furniture, the red-sprayed concrete structure features a curvaceous roof that dips down towards ground level on the south side, while the north side rises 23 feet high, allowing for bleacher-like seating overlooking the courts. The wood-clad interior boasts ample natural light thanks to wide glass that spans the front and south sides of the building. Burj Al Arab Tennis Court, Dubai, U.A.E. Twelve years ago, Andre Agassi and Roger Federer held an exhibition on the helipad of the Burj Al Arab, the third tallest hotel in the world. Designed by Tom Wright of WKK Architects, the structure stands like the sail of a ship at 1,053 feet tall. The helipad covers 4,467 square feet of space and a grass court was laid out across it for this one-time match. Since its completion, the site has been home to other iconic sports moments: Golfers Tiger Woods and Rory McIlroy teed off of the helipad in separate years while Formula One racecar driver David Coulthard performed donuts on the surface in 2013. Dubai could also soon build the world’s first underwater tennis complex off its coast in the Persian Gulf, a vision by Polish architect Krzysztof Kotala, founder of 8+8 Studio. La Cavalerie Tennis Club, Paris Set on the sixth floor of an art deco building with an Aston Martin dealership at its base, this hidden tennis club sports weathered wood paneling and a dramatic, honeycomb-style arched roof. The building itself, designed by famous French architect R. Farradèche in 1924, includes a close-up view of the Eiffel Tower which can be seen from the balconies of the club.  The hard court was established as a national monument in 1986 and features 1,400 pieces of wood that shape the parabolic interior design.   Astor Courts, Rhinebeck, New York This private tennis pavilion is situated within the historic upstate guesthouse and casino of John Jacob Astor IV. Designed in 1902 by Stanford White, the indoor and outdoor sports complex included squash courts, a bowling alley, a shooting range, and an indoor swimming pool. It was designed in the style of the Grand Trianon, a château found at Versailles in France. After being purchased by its current owner in 2003 for over $3 million, PBDW Architects rehabilitated the 20,000-square-foot mansion where Chelsea Clinton and Marc Mezvinsky were married in 2010. Infinity Court, Los Angeles, California Located at the John Lautner-designed Sheats-Goldstein House, this seemingly floating tennis court provides spectacular, sweeping views of Los Angeles. The house is currently owned by the colorful real estate investor, NBA lover, and fashion designer James Goldstein and was recently acquired by the L.A. County Museum of Art as its first-ever architectural acquisition. When Goldstein bought the property in 1972, he began working with Lautner on several updates and additions to the house. The on-site, infinity-edge court was designed atop a three-level entertainment complex built in collaboration with Lautner’s colleague. It features a glass partition barely visible from the other side of the outdoor space. Tennis Courts at the SLS Lux, Miami, Florida Arquitectonica’s design for the just-completed SLS Lux Brickell Hotel and Residences in South Beach includes a multi-use sports center atop the ninth floor of the 57-story tower. Tennis courts, a rock climbing wall, as well as spaces for volleyball, basketball, and more, allow the residents of the building’s 450 luxury condos, 12 penthouses, and 84 hotel rooms an opportunity for ample play. The base of the building features a colorful, 40,000-square-foot mural on its exterior by Fabian Burgos, a world-renowned Argentinian artist who creates optical designs for architecture. Vanderbilt Tennis and Fitness Club, New York City, New York Since the 1960s, a secret has existed within the walls of New York’s famed Grand Central Terminal: It houses a secluded tennis club. For over ten years, city dwellers could pay to play at the original Vanderbilt Athletic Club, founded by Hungarian athlete and refugee Geza Gazdag. The club housed two clay courts and a 65-foot indoor ski slope built on the third-floor Annex of the train depot. Since Gazdag was priced out of his lease, the coveted piece of real estate began a fraught history of ownership. Donald Trump took it over for three decades, turning it into an elite club for the city’s wealthiest tennis fans. Once his lease ran out in 2009, the space became a lounge for the Metropolitan Transit Authority and new courts were built on the fourth floor where current owner Anthony Scholnick manages the facility.

A Lesson InDesign

Adobe unveils a glassy office tower for its San Jose headquarters
New renderings have been released for Adobe’s latest addition to its San Jose, California, headquarters, an 18-story office tower designed by multinational architecture firm Gensler. The tech company filed finalized plans with the City of San Jose last Thursday, according to The Mercury News, and the new building could hold up to 3,000 employees when complete. The building would be an addition to Adobe’s existing complex. It has been dubbed 'North Tower' and will sit on the northern side of the campus. Adobe is considering making the tower a mixed-use building and plans on building out 650,000 square feet of retail and office space in the tower, as well as above- and below-ground parking. The building itself will be linked with the other offices via a sky bridge and will sit to the east of the adjacent State Route 87. As shown in the renderings, Gensler has taken a playful approach to the building’s massing and cut a massive triangular gap in the tower’s upper section, reminiscent of Adobe’s stylized “A” logo. Diagonally-slanted louvers will wrap the building and run parallel to the cutout, and Adobe will use the open space created by the cutout to lay a plaza on top of the retail podium. A series of smaller rooftop gathering spaces are planned for the building’s other setbacks. The sky bridge will feature concrete pavers and wood seating areas alongside plantings of native grasses, evoking a High Line-type feel. According to Adobe, construction is expected to begin sometime in 2019. Adobe is far from the only tech company to pursue a new headquarters this year: Gensler’s NVIDIA building opened, Google and BIG unveiled a new campus in Sunnyvale, Microsoft revealed that it would be upgrading its Redmond, Washington complex, and the search for an Amazon HQ2 host city has kicked into high gear.

Concrete Ideas

This experimental concrete roof is half the weight of its peers
A research team led by Jamin Dillenburger, an assistant professor at ETH Zurich, has recently produced and installed a concrete ceiling shaped by 3D-printed sand formwork. Dubbed the “Smart Slab,” the 1000 square-foot ceiling is significantly lighter and thinner than comparable concrete ceilings. The concrete slab is a component of ETH Zurich’s ongoing DFAB House project. The DFAB House is a load-bearing timber module prefabricated by robots. According to ETH Zurich, Dillenburger’s research group “developed a new software to fabricate the formwork elements, which is able to record and coordinate all parameters relevant to production.” In effect, the design of the ceiling is the product of the team-created software rather than analog design or planning. Following the design and digital testing phase of structural elements, the fabrication data was exported for the creation of 11 pallet-sized, 3D-printed sand formworks. After fabrication, each segment was cleared of sand particles and prepared for concrete spraying. The spray consisted of several layers of glass-fiber reinforced concrete. At its thinnest point, the concrete shell is less than one inch thick. After hardening for two weeks, the 11 concrete segments were joined to create the approximately 15-ton floor plate. While the underbelly’s contours were formed by 3D-printed sand casts, the ribbed grid above was shaped by CNC laser-cut timber formwork. The load-bearing ribs, resulting from timber formwork, were outfitted with a series of tubes for the insertion of steel cables both horizontally and vertically. These post-tensioned ribs carry the principal load of the “Smart Slab.” In placing the principal load above the concrete shell, the research team was able to insert complex geometric features below. The “Smart Slab” is not ETH Zurich’s first execution of an ultrathin concrete unit. Earlier this year, the university fabricated an undulating, two-inch thick roofing unit for a new live-work space in Zurich.

A H-E-B of the Pack

Lake|Flato blends high design with sustainability for an Austin grocery store
Imagine shopping for groceries in a LEED Gold–certified building on a site once occupied by Austin’s airport, and you can picture the Mueller H-E-B structure designed by Lake|Flato Architects. The glass-clad building is one of the many collaborations between the Texas supermarket chain and the San Antonio–based firm Lake|Flato. Triangular steel trusses support a soaring, curved roof made of corrugated metal. The H-E-B Market’s design responds to Austin’s highly variable humidity with a vestibule that transports and expels heat out the top. The building is also a testing ground for many sustainable concepts, such as a rain garden that doubles as a water filtration system, rooftop sensors that monitor how much daylight the building gets, and smart air-conditioning—all aimed at reducing energy use and improving the interior environment for shoppers. In 2016, it was awarded an AIA Committee on the Environment Top Ten Award, recognizing the architects for their commitment to sustainability.

Playtime

Designer Jonathan Nesci brings an adult jungle gym to Chicago’s Ace Hotel
“A lot of serious careers are reverting back to play.” So says Columbus, Indiana-based designer and Exhibit Columbus curator Jonathan Nesci, who is living up to his statement with an energetic new work on the roof of Chicago's West Loop Ace Hotel. After more than a decade of crafting objects inspired by modernist tropes, Nesci has created an architectural object you can climb into, sit in, and swing on while taking in the complex system of buildings curated within the long, linear view of the Chicago skyline. Nesci has created a crisp blue structural steel dome latticed at the bottom with matching woven rope, reminiscent both of jungle gyms and the Louis Comfort Tiffany Dome at the Chicago Cultural Center (“it was definitely in the soup” says Nesci). Nesci was looking not to create “just a sculpture or a pavilion, but something you can activate.” Situated within a lush, carefully tended rooftop prairie by Site Design Group, the Nesci Dome is the final key in the collaboration between the Ace Hotel and Volume Gallery, which has filled the Ace with artwork from Chicago-based designers. Nesci is a longtime collaborator with Volume Gallery, showing his work for the first time during the gallery's inaugural exhibition in 2010. Nesci’s grandfather, the owner of a concrete brick company in suburban Chicago, was a fan of objects designed by Frank Lloyd Wright and other architects, and he would also show up each summer to dump a load of sand in the Nesci family driveway for the family's sandbox, encouraging an element of exploration in the young designer.

Call the Mirror Universe

LinkNYC brings never-built megaprojects to the streets of New York
New Yorkers can catch a glimpse of a parallel universe this summer. LinkNYC, the Department of Information Technology & Telecommunications, AN contributor Sam Lubell, writer Greg Goldin, and publisher Metropolis Books have teamed up to bring images from Never Built New York to the city' streets via LinkNYC kiosks. The display of unbuilt megaprojects from some of the biggest names in architecture follows the release of the Never Built New York book in 2016, and the accompanying show at the Queens Museum last fall. The kiosks won't display the full array of weird and wild never-realized projects, but the curated images will still depict how New York could have grown into a very different city. Some of the work on display includes I.M. Pei’s proposal for the Hyperboloid, a 102-story tower proposed in 1954 that would have replaced Grand Central, and Robert Moses’s heavily contested Mid-Manhattan Expressway. Images of the Dodger Dome, an enclosed stadium designed by Buckminster Fuller meant to keep the Dodgers in Brooklyn, and Moshe Safdie’s tessellating Habitat New York (originally slated for the Upper East Side) have also been selected. LinkNYC will display images of each project on kiosks close to the location where they would have risen. LinkNYC’s 1,650 kiosks can be found all over the city following the program’s launch in 2016. The Never Built New York 'exhibition' follows a June show that presented historical New York City photos from the Museum of the City of New York’s ongoing Through a Different Lens: Stanley Kubrick Photographs exhibition.

New Show, Old Gems

A new exhibit explores the work of Rosario Candela, architect to New York’s Jazz Age stars
Though he may not have had a household name, few architects have had as lasting an impact on New York City as Rosario Candela. Since they were built almost a century ago, his buildings have come to define several of the city's neighborhoods and have set a standard for classic refinement among the real estate community. The Museum of the City of New York’s Elegance in the Sky: The Architecture of Rosario Candela is an informative, concise, and accessible exhibition covering the work and life of the prolific early 20th century architect. The exhibition is curated by Donald Albrecht and designed by New York-based architect Peter Pennoyer, with Tsang Seymour overseeing the project’s graphic design. Rosario Candela was born in 1890 in the Sicilian town of Montelepre, immigrating to New York City in approximately 1910. Although he struggled with English, Candela enrolled in Columbia University’s School of Architecture and graduated in 1915. The Sicilian immigrant’s early mastery of design—and self-confidence—was soon evident, as documented by architectural historian Christopher Gray, who described the young Candela cordoning off his drafting table with a velvet rope to prevent competing students from copying his work. Candela began his career as a draftsman for fellow Sicilian-American architect Gaetan Ajello, whose firm designed dozens of Renaissance Revival and Neoclassical residential and commercial properties across Manhattan’s Upper West Side. The young architect established his own firm in 1920, positioning himself to take full advantage of the astronomical wealth of the Jazz Age. For curator Donald Albrecht, one of the challenges of the exhibit was ensuring that the show was less a catalogue of Candela's prolific 75-building body of work, and more a narrative embedding his career within a rapidly changing city. To this end, Candela’s canon is cut down to 13 examples that chart his range of styles and their impact on Manhattan’s streetscape. Photography and digital animation are the primary media for the exhibition, showcasing both exteriors and interiors of Candela’s residential towers. Furnishings and ephemera dating from the era play a supporting, but significant role in bringing the subject’s social narrative to life. At street level, Candela’s architectural design is remarkable in its ability to simultaneously blend with the overarching streetscape whilst establishing a distinguishable individual presence. The exhibition begins with an immense print of the dramatically terraced rooflines of 770 and 778 Park Avenue. In typical Candela fashion, the two Neo-Georgian and Renaissance Revival style buildings are elegant and unassuming, with relatively modest brownish-red brick facades standing on delicately detailed limestone bases. Matching the cornice line of neighboring developments, Candela took advantage of zoning codes that required setbacks to create wildly asymmetrical terraced rooftops, adorned with historicist motifs such as flying buttresses, quoins, urns, and cupola-ensconced water towers. Although Rosario Candela’s work is now located in some of New York City’s most desirable neighborhoods, shifting the city’s wealthy from Victorian and French Renaissance mansions elsewhere to uptown apartment living required some persuasion. In a statement, Albrecht notes that “a key theme of the exhibition focuses on the economic history and ingenious marketing campaigns that convinced the wealthy to give up their private homes and move into apartments designed by Candela.” Featured in the exhibition are a number of brochures stemming from these efforts that promised potential tenants the luxury and exclusivity of a family manor with the comforts of apartment living. Additionally, many of Candela’s project were built as exclusionary residential cooperatives, allowing the city’s elite to segregate themselves from those they deemed less desirable. Completed in 1930 at the onset of the Great Depression, Candela’s limestone-clad Art Deco 740 Park Avenue is seen as the summit of the architect’s career. While the facade announces the upper-class status of the co-op, it is the interior composition that sets it apart from surrounding residences. The building is split between four types of apartments: mansionettes with individual street entrances, a series of duplexes, and full-floor apartments, topped by a luxurious penthouse. Past and current residents read as a register of the nation’s political and economic elite, ranging from Jackie Kennedy to John D. Rockefeller. A centrally-placed digital animation of 960 Fifth Avenue is perhaps the finest curatorial tool in the exhibition, and it highlights Candela’s innovative approach to floorplan layouts and his segmentation of luxury residential properties into a diverse range of units. The videographic, created with Lumion architectural rendering software, effectively displays the division of the building into a western portion composed of single-story and duplex apartments, and an eastern wing made up of one- to two-bedroom rental units for upper-class families who predominantly resided in country estates. Faithful to Albrecht's curatorial mission to break outside the confines of architectural history, Elegance in the Sky also includes the catastrophic impact the Great Depression had on Rosario Candela’s dizzying rise as a top-tier architect, essentially leveling all future prospects of prestigious projects. Consequently, the architect left the profession and turned towards the field of cryptography, ultimately creating an unbreakable encryption method used by the American government during World War II. Candela would go on to write two books on the subject and take up a professorship at Hunter College. Although purely based on Candela family lore, Albrecht notes that the architect’s involvement with the Office of Strategic Services could be a factor behind the near complete lack of original renderings, with the forerunner of the Central Intelligence Agency seizing documents from Candela’s study following his death in 1953. In a nod to Candela’s apartments' classical interior detailing and the designer's involvement in cryptography, Peter Pennoyer wrapped the entire exhibition space in a decorative frieze featuring mullions, egg-and-dart detailing, fluting, and a band of Morse code spelling out the architect’s full name. In similar fashion, facial profiles of those involved in his career, including longtime collaborators, designer Dorothy Draper, and developers Charles and Joseph Paterno, are colorfully sketched below the decorative frieze. The seismic evolution of New York City’s urban fabric during Rosario Candela’s professional career is startling and alludes to the contemporary state of intense development in the city. However, the continued allure and prestige of Rosario Candela’s body of work, from the Art Deco 740 Park Avenue to the Georgian-Renaissance blend of 770 Park Avenue, raises the question of whether the city’s current development boom will leave the same storied architectural legacy.

Elegance in the Sky: The Architecture of Rosario Candela The Museum of the City of New York 1220 Fifth Avenue Through October 28, 2018

 

Oh, Canada

Jeanne Gang and Renzo Piano are making their mark on Canada with a spate of new projects
It’s time to go north of the border as The Architect’s Newspaper checks out some of the highest-profile projects that have been announced across Canada this year. A strong economy has driven construction across the country, and Toronto, in particular, has an abundance of notable buildings breaking ground. From subdued civic structures to prismatic rental towers, 2018 has brought a surfeit of high-profile projects to America’s northern neighbor. One Delisle Studio Gang Toronto, Ontario Studio Gang could end up making a major mark on Toronto’s skyline with its first Canadian project, a 48-story multifaceted tower. The rental building has been designed with 16 sides made up of overlapping eight-story hexagonal modules, and each segment will contain enclosed balconies and be topped with garden terraces for residents. The overlap of the modules resembles scales or the natural spiraling of growing plants, and the effect creates a different view of the tower depending on the angle of approach. An existing 1929 Art Deco facade will be moved over to the base of a neighboring tower, and the base of One Delisle will relate to the historic facade to maintain a cogent street wall. Toronto Courthouse Renzo Piano Building Workshop and NORR Architects & Engineers Toronto, Ontario Renzo Piano Building Workshop (RPBW)’s first project in Canada will consolidate many of Toronto’s smaller courts into a centrally-located municipal building next to the city’s Superior Court of Justice. The building is reminiscent of Piano’s work on the Jerome L. Greene Science Center for Columbia University, both in its boxy massing and in its open ground level, created by raising the base of the building several stories. Despite the courthouse’s wide-open atrium space, the building has been designed with security in mind, and cameras, baggage checkpoints, and internal security corridors will be deployed throughout. The first museum in Ontario to focus on the history of the indigenous justice system will also be located inside. Construction is on track to finish in 2022.
The HUB/30 Bay Street Rogers Stirk Harbour + Partners (RSHP) Toronto, Ontario The recently-revealed design for The HUB, a 1.4 million-square-foot tower proposed for Toronto’s South Core neighborhood, is the result of an international design competition for a building that would have a major impact on Toronto’s skyline. The HUB will float over the adjacent Toronto Harbour Commission Building courtesy of a cantilevering base, and create what Senior Partner Graham Stirk describes as 'a harmony' between the two buildings. The use of external structural steel lends the tower a more industrial feeling, and RSHP is promising that the tower will contain column-free office space and a multi-story atrium as a result. Toronto’s Spadina Line expansion stations The Spadina Group Associates and All Design Toronto, Ontario Construction in Toronto is not limited to new towers. Humbler additions to public infrastructure have also been taking shape. Toronto’s largest subway extension in decades opened late last year with six new stations, including two colorful facilities from the late Will Alsop’s All Design. The boxy, zebra-striped second story of the Finch West Station cantilevers over the building's main entrance and is capped with an enormous red window at one end. A concrete 'skirt' floats around the station’s base and offers shelter to riders who are waiting for a bus outside. Inside, Alsop uses touches of color to lighten up the polished concrete interiors. For Pioneer Village, Alsop wrapped the cantilevering station in Corten steel. This station is much rounder than Finch West and uses a red band around the base of the building’s front to direct riders to the main entrance. A geometric canopy rises from the station’s back and creates a covered waiting area for the two regional bus lines that service the station. The same polished concrete seen at Finch West was used inside. Barclay Village Büro Ole Scheeren Vancouver, British Columbia Vancouver has also seen significant growth recently, including the Shigeru Ban-designed hybrid timber tower. Ole Scheeren’s recently-revealed twin towers sit in Vancouver’s West End neighborhood, and according to Scheeren, they use balconies, setbacks, and offsets to create a more welcoming face in contrast to the typical monolithic glass tower typology. All of the terraces are planted, and a rooftop plaza sits on top of the base that links the two towers. Scheeren claims that the driving concept for Barclay Village was to elevate the concept of the village skyward to match Vancouver’s overall verticality.
The Winnipeg Art Gallery’s Inuit Art Centre (IAC) Michael Maltzan Architecture Winnipeg, Manitoba This curvilinear four-story museum from Michael Maltzan broke ground in Winnipeg last month, and when complete in 2020, the building will become the largest Inuit art gallery in the world. A double-height glazed atrium at the museum’s base will be anchored by a central 'vault' protected by curved glass, and visitors can freely examine Inuit artifacts as they walk around the ground level. An 8,500-square-foot gallery on the third floor will display Inuit art. The sculptural facade of the building’s stone portion was reportedly inspired by the “immense, geographical features that form the background of many Inuit towns and inlets.” The IAC is an extension of the neighboring Winnipeg Art Gallery, and every floor with connect with the original building.
 

Frick Frack Paddywhack

Revised Frick expansion clears Landmarks but still faces challenges
A revised scheme for the Selldorf Architects-designed expansion of Manhattan’s Frick Collection with Beyer Blinder Belle (BBB) acting as executive architects has gained approval from the Landmarks Preservation Commission (LPC). While commissioners voiced their concern over the addition’s fenestration and whether enough was done to move the proposed programming underground, they ultimately voted to approve the presented plan. That approval still faces resistance from local residents and preservationist groups, including an injunction hearing scheduled for this September that could slow the project down further. In approving the expansion, landmarks commissioners noted the support the project had drawn from the public, including from architects, preservationists, art historians, curators, and landscape architects, but acknowledged they had also received emails in opposition as well. Four grandchildren of Henry Clay Frick have signed letters signaling their support, and the commissioners were quick to mention their prior approval of the more experimental, Jeanne Gang-led expansion at the American Museum of Natural History. Community groups such as the City Club and Landmarks Conservancy have also voiced their support. In the Conservancy's testimony before the LPC, they stated that their Public Policy Committee had “found that the new limestone-clad additions are appropriate in their height, massing, and materials. They draw inspiration from the historic buildings in a respectful manner. The rooftop addition to the Reception Hall will rise gracefully from the building, in the manner of a conservatory. The connecting link is modest, but well-considered. There will be no loss of historic fabric, and while some façade elements of the Library Building will be less visible, they will not be removed or altered by this project.” The original scheme for the Frick's latest expansion was presented at a May 29 hearing where the public was invited to openly comment. Selldorf and BBB had proposed increasing the floor area of the Frick by 10 percent­­­­(18,000 square feet) to provide room for new conservation areas, offices, and gallery spaces with 1,800 of that square footage to be placed underground. Perhaps the most debated portions of the expansion plan touch on the Russell Page-designed garden on East 70th Street which was added in 1977. Installing the proposed 220-seat auditorium below the garden will require removing the garden above and reinstalling it exactly as it was before. The north wall of the 4,100-square-foot garden, part of the 1977 Bayley, Van Dyke & Poehler addition that originally created the garden, is also on the block to be rebuilt. As the scheme calls for the library to rise directly over the garden’s northern wall, a series of hornbeam trees behind the wall that were planted in 2010 (replacing pear trees placed by Page to mask the back of the existing library building) would need to be removed. The original plan had placed the new library almost flush with the north wall, but the trees were ultimately spared in the final version. Annabelle Selldorf was on hand for the follow-up LPC meeting on June 26 and explained that by setting the addition’s massing back three feet from the north wall’s edge, they were able to carve out a shelf behind the cornice for replacement trees. The smaller hornbeams would be located in the same positions as their predecessors and are intended to recreate the trompe l’oeil, the sense that the garden stretches on past its confines, that the current trees bring to the landscape. Selldorf was adamant that shaving three feet off of the addition was the most that can be done, and that tightening the massing any further was impossible due to programmatic requirements. The circular John Russell Pope-designed Music Room, set to be dismantled to make way for more special exhibition space, was briefly discussed as commissioners prodded the Frick to explain why the space couldn’t be repurposed. Museum representatives explained the difficulty in staging exhibitions inside of a round room and the associated temporary architecture required, and that more space was needed to display their collection. The Music Room’s Versailles-patterned wood floors and non-structural wall panels will be reused in the replacement gallery space, and the entire room will be 3D scanned and included in the Frick’s collection. That is, if the room is actually taken apart. As the commissioners noted during this week’s meeting, an active Request for Evaluation (RFE) to designate the Music Room, West Gallery & Enamels Room, and the 1977 Reception Hall as interior landmarks is currently being processed. Questions were raised over whether approving the expansion would preclude the music room’s designation, but commissioners received clarification that the two items were not in conflict with each other. It was entered into the record that the LPC takes a meticulous approach to interior designations and that if the RFE is approved, the scheme will have to be retooled to include a circular music room. Though the commissioners questioned the design team on whether more of the proposed programming could be moved underground­, the plan presented was approved with six votes for, one against, and one commissioner choosing to abstain. The Frick is an individual landmark within the landmarked Upper East Side Historic District, but commissioners highlighted the fact that the Frick Collection is a campus of separate buildings from many different time periods when making their final decision. Opponents have compiled a laundry list of complaints against the Selldorf and BBB plan. The Stop Irresponsible Frick Development (SIFD) coalition, a collection of architects, preservationists, and activists gathered on the steps of City Hall on June 25 to make their voices heard about why the expansion should be halted. Citing the lack of time given to the public to review the revised scheme, the LPC’s failure to consider landmarking the Music Room first, the potential conflict of interest arising from interim LPC chair and BBB partner Fred Bland’s participation in the process, the necessity of the Frick to expand its collection to such a degree, and the addition of a glassy café topper above the reception hall, the group had tried to delay the June 26 vote. Although an emergency temporary restraining order was submitted by the group on June 25 to the State Supreme Court, the judge decided not to grant the measure. However, an injunction hearing has been scheduled for September, which will force the Frick to defend their decisions in court and risks throwing a wrench in the project’s timeline. Preservationist Theodore Grunewald was responsible for filing the Music Room RFE (at the May 29th hearing itself, a first in the Commission's history) arguing that the room deserves to be judged on its own merits. This is the first time that an RFE for a separate part of a project has been raised independently before the LPC. In an op-ed published to the New York Times on June 25, Martha Frick Symington Sanger, a great-granddaughter of Henry Clay Frick, laid the groups concerns bare. “Let us engage an independent professional to evaluate the feasibility of excavation for proposed new facilities,” wrote Sanger, although the LPC noted that they have, historically, never taken outside design considerations into account when making their decisions. “Revisit the possibility of modernizing and repurposing existing underground facilities; purchase the adjacent, 6,000-square-foot building that is currently on the market for less than 10 percent of the anticipated cost of the current proposal; and seek landmark status for the music room, which could just as easily be preserved as a gallery.” The full presentation given at the June 26 LPC meeting is available here. According to the Frick, construction on the addition will not begin until 2020. AN will continue to provide updates on this story as they become available.