Curved metal facade embodies spirit of mobility at LAX.The commission to design a new Central Utility Plant (CUP) for Los Angeles International Airport (LAX) came with a major caveat: the original 1960s-era CUP would remain online throughout construction, providing heating and cooling to adjacent passenger terminals until the new plant was ready to take over."We had to keep the existing CUP up and running, build the new one, do the cutover, then tear down the old CUP and build a thermal energy storage tank in its place," explained Gruen Associates project designer Craig Biggi. "It was a very challenging project from that standpoint—working in a 24/7 environment, and getting everything up and running within a small footprint." But despite these and other hurdles, the design-build team (which included Clark/McCarthy, A Joint Venture as general contractors, Arup as A/E design lead, and Gruen Associates as architect) succeeded in delivering the new CUP in time to support LAX's newest terminal. Its curved stainless steel and glass facade captures the airport's spirit of mobility, and helps restore a sense of cohesion to an otherwise fragmented built landscape. LAX is a busy place, both aesthetically and with respect to passenger movement. "There's a lot of visual activity happening there," explained Biggi. "It's been built up over time, so there's this layering effect. This was meant to be an architectural design that not only simplifies some of the visual confusion, but addresses the context of the airport itself as a site that has a lot of movement." When shaping the building envelope, the designers looked at concepts of laminar flow, of which one example is the passage of air over an aircraft wing. "What we came up with was a streamlined architectural expression that ties together three distinct programmatic elements," said Biggi. "The project uses this expression to tie into the existing context by flowing around corners, then opens up at certain locations to allow the program to have ventilation and views." The CUP's primary facade is clad in stainless steel composite panels within a pressurized rain screen system. The architects chose stainless steel, explained partner-in-charge and project manager Debra Gerod, to respond to the potentially corrosive effects of jet fuel and other chemicals as well as the salty Southern California air. In addition, "we had to work to get a finish that wouldn't create reflections," said Gerod. "We're right underneath the control tower. Being mindful that the sun can be at any angle, bouncing off airplanes, that [became a] careful performance-based element" of the design. Non-curved sections of the CUP's envelope feature corrugated aluminum panels, which reduce the risk of reflection and help camouflage functional components including large doors that allow the installation and replacement of equipment. "How we were able to put these giant openings into the side of the facade and have it be blended in and aligned with the corrugated metal paneling—these were some of the things we really paid a lot of attention to," said Gerod. Similarly, the ribbon windows on the stainless steel facade help conceal exhaust louvers, in addition to providing views from the engineers' offices. "We always looked at opportunities for streamlining the aesthetic of the exterior," said Biggi. "We were looking for simple massing that looked fluid in its resolution." Gruen Associates designed the new CUP as a visual landmark for passersby, installing a massive window on the north facade in order to reveal the interior of the chiller room. "This is a bit of an homage to the old CUP," explained Gerod. "When it was first built, it was a really nice building: round, with lots of glass. By the time we got to it, things were spilling out in all directions. But as originally designed, it had a view into the inner workings of the plant." Meanwhile, the architects used blue-colored LEDs and reflectors moved by the wind to create a lighting effect on the adjacent thermal energy storage tank—which, like the nearby cooling towers, is also clad in stainless steel—that mimics the rippling motion of a swimming pool at night. "The lighting effect is meant to address passengers as they're driving down Center Way, and give some animation to the large mass of the storage tank," said Biggi. Here, too, the designers were careful to plan the lighting so as not to interfere with air traffic control functions. LAX's new CUP, which is targeting LEED Gold certification, promises a 25 percent increase in efficiency over the 50-year-old plant it replaces. With continued expansion in the offing, it did not arrive on the scene any too soon. Though much of the design was shaped by current conditions at the airport, including both functional considerations and an aesthetic embrace of the airport's hectic pace, Gruen Associates simultaneously thought ahead, to a larger—but hopefully visually more coherent—LAX. Should a proposed terminal extension to the west come to pass, the CUP's curved stainless steel facade will provide a backdrop for the newer buildings, setting the stage for a more deliberate approach to the airport's ongoing transformation.
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British architect Amanda Levete reveals weather-responsive “forest canopy” design for Melbourne’s MPavilion 2015
Seeking to recreate the audiovisual experience of a rainforest within urban environs, London-based architect Amanda Levete has unveiled a weather-responsive forest canopy for Melbourne’s 2015 MPavilion. The second-edition annual pavilion, set to open in October at the Queen Victoria Gardens, is Australia’s answer to London’s emblematic Serpentine Gallery Pavilion. The Stirling Prize winner and founder and principal of architecture and design studio AL_A used the latest nautical engineering technology to convincingly mimic the phenomenology of flowers swaying in the wind for an experience somewhat resembling an ant’s world. Levete’s design consists of a series of bendable carbon-fiber poles supporting a roof of translucent, “seemingly fragile” petals made from composite materials she created through tête-à-têtes with a yacht fabricator. Each one measures 10–16 feet wide and is less than 0.4 inches thick. The petals moonlight as speakers that can record and playback the daily soundscape that occurs beneath the canopy. These amplifiers are then wired seamlessly through carbon-fiber poles. By night, LED lights enhance the “dappled and dreamy” ambiance. The performance space within the pavilion will be oriented to play up views of Melbourne’s skyline to the north—which could potentially include a Beyoncé-inspired tower soon—and a treeline to the east. “Our design subverts the norms of immovable. It embraces and amplifies such distinctions, so that it speaks in response to the weather and moves with the wind rather than trying to keep it at bay,” said Levete. Joining her on the project team are Australian manufacturer mouldCAM, builders Kane Construction, and engineering firm Arup. Initiated by the Naomi Milgrom Foundation with support from the City of Melbourne and the Victorian State Government, MPavilion is a free four-month program of talks, workshops and performances by creative collaborators. The inaugural pavilion by architect Sean Godsell, which attracted more than 640,000 visitors to 317 free events, featured walls that lifted up on pneumatic arms in resemblance to a “blooming flower.” Unlike the Serpentine Gallery Pavilion, which stipulates that the designer must not have previously built anything in the country, MPavilion—set to run from October 6, 2015 to February 7, 2016—requires only that the candidate be an “outstanding architect.”
Italian football giant AC Milan is relocating to what the club purports as “the world’s most innovative stadium” in the city’s Portello area. The new mixed-use facility will be slightly over half the size of the team’s current 80,000-seater San Siro stadium, which it shares with fierce rival Intel. Flagging spectator turnout in recent years has incentivized several Italian football clubs to occupy downsized stadiums. In the 2013-14 season, AC Milan averaged just 40,061 spectators and half-empty bleachers. The club selected a design team consisting of architecture and design firm Arup and Italian architect Emilio Faroldi, who studied 70 stadia around the world as part of the design process, absorbing ideas from the Emirates Stadium in London, the St. Jakob-Park in Basel, and the new San Mames stadium in Bilbao. Given initial protests by Milan residents over the club’s relocation, Faroldi’s onus was to create a minimally invasive design with the aesthetic of a building rather than a hulking sports facility. Thus the first 33 feet of the stadium will be sunken underground, with the building peaking at just 98 feet. Aspiring towards a multi-use stadium that remains operational on non-matchdays like those in the UK, the facility will include a hotel, sports college, restaurants, courtyard and rooftop green areas, a children’s playground, and public art spaces. “Scientific research, through a series of studies, tell us clearly that the role of arenas in Europe and the world is gradually changing,” Faroldi told Italy’s La Gazetta dello Sport. “The stadiums are no longer meant just as a place for sporting events, although open all week, but as a useful piece to reorder the outlook of a neighborhood, a city.” The architect aimed for fewer turnstiles and fewer barriers between fans and the stadium, proposing to supplement these distancing reinforcements with heightened security. AC Milan recently mobilized to tout the benefits of the new stadium to the public, such as escalated land value and the creation of 1,000 jobs during construction and 500 jobs thereafter. The club emphasized the incorporation of state-of-the-art sound-proof materials for near-zero noise pollution and minimal visual impact, as well as the stadium’s integration with public transportation systems. AC Milan hopes to move into its new stadium by the beginning of the 2018–19 Series A season.
Starchitect Renzo Piano has vowed to soldier on with mega-sized plans for a Jurassica Resort on England's island of Portland in the English Channel, despite being denied a $24.5 million bid for Heritage Lottery Funding (HLF). “The project is now continuing into development without an HLF development grant,” a spokesman for the project told Architect’s Journal. Jurassica’s backers said they will re-apply for the grant and are not acquiescing to appeals for a downsize. The brainchild of science journalist Mike Hanion, Jurassica Resort will be the world’s largest immersive prehistoric environment. Although designed with a museum’s vital organs, the facility itself is essentially a limestone quarry 132 feet-deep beneath a translucent glass roof supported by the quarry walls. The building itself is designed to be “more or less invisible.” Beneath the glass is a Jurassic-period coastal cove, where visitors will walk beneath towering cliffs, sea-stacks and arches covered in exotic trees, past a living reef festooned with corals and patrolled by sharks and stingray. Those with the tenacity can venture into a forested ravine where the “dinosaurs” rove. Animatronic dinosaur displays, an aquarium, and swimming plesiosaurs are just a few of the promised wonders. The subterranean dinosaur museum will be located on Dorset’s Jurassic coast, a UNESCO World Heritage Site comprising a 95-mile stretch of cliff distilling 180 million years of geological history. “We will pick a specific period in prehistory and everything you see will be both realistic and an accurate representation of the plants and animals that were alive during that time,” said David Lazenby, Creative Director of Azureus Design, on board for the exhibit design. “The Jurassic Cove will not be a theme park display but a spectacular and precise snapshot in time that will bring the heritage of the Jurassic Coast to life.” Hanion believes the park could draw 800,000 visitors regularly and employ approximately 200 people. Yearly revenue of $30.3 million for the local economy has also been estimated. Project managers are intent on securing alternative funding, with the goal of opening Jurassica Resort by 2019 or 2020. “At £16 million ($24.5 million), public funds from HLF were always only part of our funding strategy for a project costing some £80 million (around $122.6 million),” said the spokesman. “We have applied to and will apply to scientific trusts and other grant-giving bodies both in the UK and overseas, and have already attracted financial support from business and HNWI based locally and nationally.”
Winners of the Atlanta Bridgescape Competition were announced last week at the AIA Conference that was held in the city. The competition, launched earlier this year, asked multidisciplinary teams to reimagine two of Atlanta’s outdated bridges with a budget of about $3 million. Hometown designers Max Neiswander and Luke Kvasnicka won with (sin)uosity, their plan to remake Midtown’s 10th Street Bridge with plantings, fresh bike lanes, and a curving, ribbed shell. Roger DeWeese, head of the Atlanta-based Peachtree Architects, also earned top honors with Organic Canopy, a vision to top Courtland/McGill Bridge with a geodesic dome–like structure. This plan actually won twice as it was selected by the competition's blind jury and the general public through the People's Choice Award. The other People's Choice Award went to Green City Spectator by the Poland-based KAMJZ Architects along with ARUP. Perhaps the most adventurous design, this scheme tops the bridge with what appears to be farming areas, and also has a zigzagging structure similar to to HNTB's vision for Los Angeles’ 6th Street Viaduct. “Competitions are about vision and big ideas,” said competition manager Tony Rizzuto, Chair in the Department of Architecture at Kennesaw State University, in a statement. "They have the potential to take us out of our comfort zone to see possibilities we never imaged. They provide a catalyst for discourse on public space and promote the pursuit of better design.” The ideas-centered competition was sponsored by Central Atlanta Progress, Midtown Alliance, and the Atlanta chapter of the AIA.
Bureau V’s experimental music venue with a high-tech vibe set to open in a former Williamsburg sawmill
Brooklyn designers Bureau V have completed National Sawdust, an experimental performance venue in Williamsburg, Brooklyn that will be home to the Original Music Workshop (OMW). The name of the venue comes from the existing building’s history as a sawmill. OMW is a nonprofit led by composer Paola Prestini, whose advisory board includes heavy-hitters such as James Murphy, Laurie Anderson, Suzanne Vega, and Philip Glass. The 3,000-square-foot space in the heart of Williamsburg at North 6th Street and Wythe Avenue was a collaboration between Bureau V and Arup. It was originally conceived back in 2012 with an estimated opening of 2013. In 2014, it was still unfinished, and a Kickstarter campaign raised over $100,000. Now the project is slated for an opening in October. The design is a mix of a traditional European theater and a black-box space, combining the “crafted beauty of the former” with the “experimental programming and roughness of the latter.” The particular history of the site will add another layer of spatial interest to the building, as its industrial past is conflated with a high-tech present. The result is a sublime collision of new and old: technology and ruin, progress and history, refinement and grit. The acoustics are state-of-the-art and were developed with Arup. For more details on the design, see AN's original 2012 coverage.
The Center for Active Design (CfAD) has announced the winners in its annual Excellence Awards, which honors buildings, public spaces, and, for the first time this year, research, that promotes active lifestyles. All competition entries had to meet at least one of CfAD’s “Active Design approaches,” which include Active Transportation, Active Recreation, Healthy Food Access, and Active Building. After a blind selection process, a jury picked six winners and five honorable mentions. “Regardless of the size, location, or use, the Excellence award winners serve as catalysts for broad based community transformation, maximizing their impact by embracing a cross discipline approach to the design process, which in many cases included use of the Active Design Guidelines from the outset,” said Joanna Frank, the center's executive director, in a statement. This year’s winners will be recognized at “Celebrate Active Design” in New York City on May 11th. For more information on the event visit the CfAD's website. You can read more about the winners and honorable mentions below. City of Pontevedra, Spain From CfAD:
City council members led by Mayor Fernández Lores, began their quest in 1999, by developing a community-driven master plan that prioritized people and public spaces. ... The occupancy of the public spaces post-renovation was almost immediate. 81% of schoolchildren walk to school, half of them on their own. Traffic has decreased by 70% in the downtown area and 30% in the city overall between 1996 and 2014, with zero fatalities due to accidents in the last eleven years. The space devoted to pedestrians and cyclists in streets and squares increased over 60%, using space that was previously devoted to motor mobility and parking. Sidewalks were widened, streetlights improved, and over 400,000 street trees were planted throughout the city. By prioritizing resident health in the design, construction, and maintenance of public spaces, Pontevedra is a pioneer in the Active Design movement.Guthrie Green, Tulsa, OK By SWA Group From CfAD:
Submitted by the SWA Group, the 2.7-acre Guthrie Green Park serves as a central hub for social and cultural events for the community, now receiving over 10,000 visitors annually. Given that Oklahoma has some of the worst obesity and life expectancy rates in the country, team members aimed to use this project to promote health and physical activity among residents. The design converts a former truck yard into a flexible venue for community gatherings set among gardens, a central lawn, park pavilion, outdoor stage, and interactive fountains that invite visitors to connect with nature and join community events. A geo-exchange grid under the park supplies heating and cooling for nearby non-profit organizations, further contributing to revitalization of Tulsa's downtown Brady Arts District.New Settlement Community Campus, Bronx, NY By Edelman Sultan Knox Wood Architets with Dattner Architects From CfAD:
The New Settlement Community Campus in the Bronx, New York started with a simple desire for a public swimming pool, but soon expanded into an innovative, joint-use project that tackled school overcrowding and a dearth of local community services. Bringing together community activities that were previously located in various neighboring affordable housing buildings, the New Settlement Community Campus provides a resource for both students and residents in this low-income community. Designed by Dattner Architects and Edelman Sultan Knox Wood / Architects the New Settlement Community Campus is a vital community hub providing 1,160 K-12 students and the surrounding neighborhood with a wide range of indoor and outdoor learning spaces, fitness classes, and activity hubs, along with a healthy food program and on-site health clinic.Casitas de Colores, Albuquerque, NM By Dekker/Perich/Sabatini From CfAD:
Casitas de Colores brings much needed affordable housing to families in downtown Albuquerque. With a walk score of 94/100, it has been recognized as an important project for supporting activity in the downtown area. Located within walking distance to city amenities, transit networks, and employment areas, the project promotes walking, rather than driving to daily destinations. Submitted by Dekker/Perich/Sabatini design firm, the Casitas de Colores community includes open stairwells, terraces, and patios, that maximize visibility and provides community facilities with an array of amenities to promote their health and wellness. Staircases are prominently located near entrances, elevators, and walkways, are wide enough for group travel, brightly colored, and offer views to the courtyards and downtown area. Walking paths are artfully decorated and exposed to natural light, enhancing the pedestrian experience, connecting residents to outdoor courtyards, and supporting a range of activities and social interaction.Stanford Healthy Neighborhood Discovery Tool, United States, Mexico, and Israel Stanford Prevention Research Center and the Stanford University School of Medicine From CfAD:
The Stanford Healthy Neighborhood Discovery Tool, is a research project that empowers citizens with technology to have an impact on policy decisions that effect the built environment. Researchers from the Stanford Prevention Research Center and the Stanford University School of Medicine, equipped resident 'citizen scientists,' with technology, allowing them to asses their neighborhoods and advocate for more support for healthy living. Using recorded, geo-coded photographs and audio narratives, GPS-tracked walking routes, and survey responses, residents have successfully engaged policy makers and collaborated on funding decisions for built environment improvements. The citizen scientist application has now been used in three countries (Mexico, Israel, USA), leveraging resident 'citizen scientists' and mobile technology that empowers communities to promote active living and healthy eating.Queens Plaza From CfAD:
Queens Plaza has shifted the way New York City conceives of its public spaces, recognizing them as a critical part of its urban infrastructure, capable of creating vibrant neighborhoods. The application of Active Design principles transformed a parking lot surrounded by 16 lanes of traffic and noisy subway lines into a space that prioritizes the pedestrian.Honorable Mentions Space to Grow: Greening Chicago’s Schoolyards Chicago, IL From CfAD:
Space to Grow is a multi-sector partnership that transforms Chicago's aging, and in many cases underutilized, schoolyards into dynamic outdoor spaces that support physical activity, learning and community engagement. Selected Chicago Public School schoolyards are located in urban neighborhoods that have a deficit of recreational facilities and green space, and that are also prone to flooding during heavy storms. The project is co-managed by Healthy Schools Campaign and Openlands – two Chicago based nonprofit organizations, and is funded by Chicago Public Schools, the Chicago Department of Water Management, and the Metropolitan Water Reclamation District of Greater Chicago.Gateway Community College New Haven, CT From CfAD:
The Gateway Community College project represents how thoughtful design can create an educational environment that promotes health, while anchoring the urban revitalization. Submitted by Perkins + Will, this project is designed around a central atrium and open stairway, which links the academic spaces and doubles as the primary gathering space. Informal stadium seating and lounges are provided around this central core. Classroom wings also offer open access to a series of egress stairs, enhanced with hold-open devices, abundant daylight, comfortable width, and views to a rain garden. A range of exterior spaces, like a roof garden and multi-purpose courtyard, are offered to support on-site recreation and special programming. Located in a formerly neglected part of New Haven, Gateway Community College enhances the neighborhood pedestrian environment through the addition of more public elements, such as an interactive, LED art installation visible through the building facade. The images that are projected as part of this art installation are curated by the students and provide a greater identity for themselves and the campus community.New York City Police Academy College Point, NY From CfAD:
The New York City Police Academy was designed from its outset using the Active Design Guidelines. It consolidates many of the Police Department’s existing training facilities into one consolidated campus. Built on a former landfill site and submitted by the New York City Department of Design and Construction, the campus offers numerous opportunities for occupants to engage in physical activity. A monumental stair is featured at the building’s entrance that connects physically and visually to the circulation stairs located throughout the plan. Egress stair doors on each floor use hold-open devices to maximize visibility into stairwells. Fitness facilities include a swimming pool, indoor exercise spaces, outdoor running tracks and walking routes that move users around landscaped gardens, which are also usable by the surrounding community.Fulton Center New York, NY From CfAD:
The newly renovated Fulton Center transit center in New York City’s financial district effectively organizes the circulation patterns of about 300,000 daily riders between eight train lines. Designed by Grimshaw Architects under prime design consultant Arup, the Fulton Center is focused around a new civic space with a grand oculus bringing in ample light into waiting areas that were previously dimly-lit and confusing. The improved Fulton Center not only simplifies transit connections, but also provides 65,000 square feet of retail and office space. Features such as wider and brighter concourses make walking between subway lines a more enjoyable and less confusing experience. A spiral staircase located centrally in the atrium attracts the attention of visitors, and wayfinding signage and interactive information kiosks are strategically placed throughout the station. A new pedestrian tunnel offers expanded connections to additional subway and transit lines.Safe Cycling Design Manual for Istanbul Istanbul, Turkey From CfAD:
The Safe Cycling Design Manual for Cycling is an evidence-based report that aims to raise awareness of cycling as a mode of transportation in Istanbul. After undertaking an extensive literature review, and a series of surveys, interviews, site visits, and visioning workshops with cyclists, the research team at EMBARQ Turkey, found that residents prefer cycling because it is healthy, fast, affordable, and flexible. They also noted however that challenges to cycling in Istanbul include, lack of police enforcement, supporting infrastructure and fast flowing traffic. Leveraging the research and corresponding proposed solutions outlined in the Manual, the EMBARQ team has a created a valuable source on sustainable urban transport for the national government, local authorities, and community members in Turkey.
For Enclos' Alex Barmas, true innovation in facade design and fabrication is about more than the latest technological bells and whistles. Rather, it is about exercising creativity despite the restrictions posed by tight budgets, compressed timelines, and aggressive real estate markets. At Facades+ NYC later this month, Barmas will moderate a conversation on implementing innovation with AEC industry leaders including Cutler Anderson Architects' Jim Cutler, Arup's Tali Mejicovsky, Michael Stein, of Schlaich Bergermann & Partner, and Richard Meier & Partners' Vivian Lee. "My intention is to get the panelists talking about the possibilities of producing truly fantastic architecture while constrained by very real-world budgets and schedules," said Barmas. "They have all worked on projects where an intelligent and responsive approach to design, and an intelligence about materials and tectonics have allowed them to deliver great projects under tight constraints. The panel will focus on the commitment and perseverance required to execute and deliver such projects." New York is a hotbed of facade innovation exactly because of the particular constraints at play there, said Barmas. In much of the United States, he explained, the litigious nature of the building design and construction market tends to discourage integrated project deliver. But "the New York market is actually a counterbalance to this. Due to the complexity of building projects, compressed construction schedules, and the need for coordination throughout the design and construction process, projects must take on a more holistic design mentality." At the same time, said Barmas, the drive to build taller and faster for the top of the market "has meant that there are some very interesting building envelopes either recently built, or under construction." As a case in point, he cited BIG's 625 West 57th Street (W57), calling it "a fantastic example of a really interesting curtain wall." All of this is not to say that new technology is not compelling—especially when made a part of built projects. "I'm very excited about the continuing integration of sensors, actuators, and other electrical components with the building envelope to create active and responsive facades," said Barmas. "This seems to be turning into a virtuous cycle where integrated systems are becoming more robust, system integration is improving, and all the parties to a building project are becoming more comfortable implementing these systems. System intelligence and integration enable us to achieve better performance with traditional building envelope components." To hear more from Barmas and panelists on bringing facades innovations to fruition, register today for Facades+ NYC. More information, including a complete symposium agenda, is available online.
When the new Fulton Center opened this weekend—after seven years of delays and cost overruns that lifted the project’s price tag from $750 million to $1.4 billion—New York City got two things: a modern upgrade to its transportation network and an iconic piece of architecture. With new well-lit concourses, pedestrian tunnels, escalators and elevators, and more intuitive transfer points between nine subway lines, Fulton Center will drastically improve the transit experience for the 300,000 people who pass through it every day. But even with these significant improvements, all anyone is talking about is the center's eye-catching glass oculus and its hyperboloid Sky Reflector-Net installation. Step inside the station, and you'll understand why. The 53-foot-diameter structure was commissioned by the MTA Arts & Design program and created by James Carpenter Associates with Grimshaw Architects, Enclos, TriPyramid Structures, and ARUP. It is comprised of 952 aluminum panels, 224 high-strength rods, 112 tension cables, and 10,000 stainless-steel components that work in tandem to fill the station with natural light. The full effect of the design can only be experienced from within the station—standing across the street from Fulton Center, which appears as a steel and glass headhouse, the oculus and Sky Reflector-Net could be mistaken for a massive vent. The upper floors of the rotunda, which are set directly underneath the oculus, will soon be ringed by shops and restaurants. The 66,000 square feet of commercial space is connected to the station through a prominent glass elevator that is wrapped in a spiral staircase. But as dramatic as all of these large gestures are, the center is completed with the MTA's standard-issue, black and gray finishes. The handrails, doors, flooring, and even garbage cans are what you would find at any other station. The station's subdued color scheme, though, is broken up slightly with the light blue glass tiles that clad the station’s below-grade corridors. In these subterranean spaces, the choice of tile, and the decision to set overheard fluorescent bulbs at an angle, shows the impact that designers can have when deviating—however slightly—from the norm. Spread throughout the new Fulton Center are over 50 digital screens that make up the MTA’s “largest state-of-the-art digital signage media program.” When AN visited the Fulton Center, some of those screens were quickly switching between video art and ads for Burberry. And then back again. The completion of the Fulton Center also comes with the $59 million renovation of the adjacent, 125-year-old Corbin Building. The refurbished space, which boasts a stately exterior, is incorporated into the circulation of the center. Exiting through the Corbin Building–side exit, you can see the wings of the nearly $4 billion, Calatrava-designed World Trade Center Transit Hub. When that station opens next year, it will connect to the Fulton Center, and quite likely overshadow it. The bulk of the funding for this project ($847 million) came from a Congressional appropriation which was aimed at rebuilding transit networks in Lower Manhattan after September 11. An additional $423 million came from President Obama's stimulus act. The MTA also provided $130 million in funds.
Archtober Building of the Day #20 Donald Judd Home and Studio 101 Spring Street Architecture Research Office; Walter B. Melvin Architects The Soho of the 1970s has come and gone, grungy artists’ studios replaced by glitzy storefronts and luxury condos. However, two decades after artist Donald Judd passed away in 1994, his presence still permeates 101 Spring Street. It’s in the nooks he carved out for his children and his books, his kitchenware and furniture, and, most of all, his art. To Judd, 101 Spring Street was love at first sight. He purchased the cast-iron corner building in 1968 and was careful to respect the integrity of the space when setting up his life and his work. Dividing walls are kept at a minimum, and everything is arranged to leave the right angles of the windows uninterrupted. Light generously floods the interiors. Though not an architect, the godfather of Minimalism knew a thing or two about arranging spaces. Somehow, in the master bedroom, a site-specific Dan Flavin light installation coexists in harmony with works by Claes Oldenburg and John Chamberlain. Despite the sleek metal surfaces of his work, the range of surfaces and textures in his home reveals the breadth of his taste. The restoration, led by Architecture Research Office (ARO), was guided by Judd’s last will and testament: make necessary repairs, but leave the rest unchanged. Restorers looked through old photographs and arranged walk-throughs with Judd’s friends and visitors to determine the precise location of artworks and furniture, and everything in between. There was probably more clutter when Judd was around, but, according to our Judd Foundation guide, the artist had his own organizational systems in place. A custom-made cabinet with a very low shelf was specifically designed to store cutlery side-by-side in a single row. According to ARO Principal Adam Yarinsky, the restoration’s main challenge was how to introduce the modern infrastructure of museums without impacting the character of the building and its art installations. In the 1960s, Judd removed all sprinklers from the third and fourth floors, claiming that they interrupted the building’s sightlines. ARO consulted with Arup to devise a fire-proofing system that would not detract from the space’s qualities. Walter B. Melvin Architects, which led the facade renovation, installed new but old-timey double-paned glass to protect the art from harmful UV rays. Judd is gone, but his art and his legacy live on. The artist’s careful considerations, along with ARO’s precise renovation, allow the spaces to showcase the art and vice versa.
Camila Schaulsohn is Communications Director and Editor-in-Chief of e-Oculus. She was born and raised in Santiago, Chile.
Newport Beach's central government complex emphasizes transparency, sustainability.Bohlin Cywinski Jackson's (BCJ) Newport Beach Civic Center is in one sense classically Southern Californian. With its light steel structure, plentiful windows, emphasis on indoor-outdoor spaces, and roofline inspired by ocean waves, it evokes a timeless delight in Pacific coast living. But it also represents something new, both for the city of Newport Beach and for civic architecture more generally. Built on a marshy site that had previously been written off as uninhabitable, the LEED Gold Civic Center and adjacent 16-acre park, designed by BCJ in cooperation with PWP Landscape Architecture, acts as a different kind of anchor for the automobile-oriented community. "It was shaped in part by a desire to create a great public space," said principal in charge Greg Mottola. "How do you make an urban civic space in the context of the suburbs?" The architects choreographed the Civic Center's entry sequence to transition from highway speeds to the pedestrian scale. The freestanding Council Chambers sits at the entrance to the complex, its white Gore-tex fabric "sail" doing double duty as sunshade and visual trademark. "The sail was really a way to help people understand the Civic Center at 40 miles per hour," said project manager Steve Chaitow. "You turn in there, and as you slow down the scale of the project begins to become more fine-grained." Past the Council Chambers and neighboring community room is the long, low City Hall building, which upends the traditional emphasis on monumentality in favor of democracy. "One of the key issues was the metaphorical and literal transparency of government," said Chaitow. The focus on transparency is expressed both in City Hall's plan, which eschews a grand lobby in favor of outdoor circulation and separate entrances for each department, and its glass facade. To create a public front porch for the building, BCJ covered each bay with a curved roof composed of whitewashed hemlock soffit on a steel frame. The panels provide crucial shading for the east-facing curtain wall, which opens onto the Civic Green. "That roof overhang is 20-30 feet, it's really out there," said Chaitow. "That's what allowed us to have this facade of glass and not pay a penalty." Custom horizontal aluminum louvers on the curtain wall's lower level furnish additional protection against thermal gain. The architects worked with Arup to study the structure blade by blade, to maximize shading without sacrificing visibility. The aluminum extrusions were also designed to stand off the curtain wall, to facilitate window washing. For ventilation, BCJ installed operable clerestory windows between each pair of roof panels. The windows run on an automated system and let in an even northern light that often negates the need for artificial lighting. "A big pull for the client and for us was to try to make this building responsive to its location," said Mottola. "It's been a pretty successful change for them as far as changing the culture at City Hall." Vertical aluminum louvers over City Hall's clerestory windows and other north-facing glazing prevent interior lights from disturbing the neighbors at night. The back-of-house spaces, including conference rooms and patios for staff, are gathered along an open circulation path along the west side of the building. The emphasis on common space prompted the mayor to remark, "I have met more of our City Staff in two weeks here than I did in seven years in our old city hall." Two of the Civic Center's other structures, the Council Chambers and community room, which both feature large sliding glass doors, are partially clad in stone. "We wanted to use some stone because it has a nice relationship to the concept of civic building, but we wanted to use it selectively," said Mottola. Brazilian marble was used on portions of the Council Chambers envelope, while the community room is wrapped in French limestone. The slightly darker French limestone serves to make the community room more recessive, highlighting the Council Chambers. At the same time, the location of the community room within the Civic Center as a whole reveals that it may be the complex's most important building. "The first project you see as you slow down when entering the Civic Center is the city's 'living room,'" said Chaitow. "That's intentional. Symbolically, it was important as a gesture about twenty-first century democracy."
Michael Van Valkenburgh Associates (MVVA) has taken its talents up north to Canada with the new Corktown Common park in Toronto. The 18-acre public space—which is part of the burgeoning, 80-acre West Don Lands neighborhood—was created with Arup and developed by Waterfront Toronto, the government-funded corporation spearheading the revitalization of the city's waterfront. The Common has all the requisite features and amenities to attract Torontonians and their kids to what was, until recently, a brownfield site. Using Brooklyn Bridge Park and Hudson River Park as reference points, the reclaimed space has an array of natural plants, landscapes, ecosystems as well as lawns, athletic fields, picnic tables, play areas, and a pavilion that includes a community kitchen. That can all be seen at first glance, but the $27 million park was built as more than a play area—it was built to work. Representatives from Arup told AN that the park is designed as a “cistern” that stores and treats stormwater to protect the surrounding neighborhood from flooding. This is done through natural elements like plantings, bioswales, a landscaped berm, and a living marsh. But the play areas do their part as well. Water used at the large splash pad, for example, is treated and then directed back through the marsh. “An expansive urban prairie on the berm will respond to changing water levels and frame the more active areas of the park,” MVVA said in a statement on its website. “To the west, lawns, marshes, and woodlands will provide settings for walking, cycling, sledding, sports, sunbathing, and public art, with a multifunction pavilion at the center.” This was all part of a vision to create a park that acts like a cistern, but doesn’t necessarily look like one. This was the team's challenge: mask all the tricks and tools that make the park sustainable within the park itself. “If a mechanical engineer does her job right everything she does should be invisible,” said Jennifer McArthur of Arup.