Herzog & de Meuron has been commissioned by Dutch real estate development companies Kroonenberg Geoep and ProWinko to design a mixed-use supertall tower at the northwest corner of Bloor and Bay Streets in Toronto’s Yorkville neighborhood. The glass-encased, ultra-slender 87-story skyscraper will be the first building to be designed in Canada’s most populous city by the Pritzker Prize-winning Swiss firm. (Toronto-based Quadrangle is serving as project architect.) If completed as proposed today, the tower—at 1,063 feet—would stand as the tallest residential building in Canada, although at least one slightly lankier planned project is a bit further ahead in the development process. The project also slightly edges out a Hariri Pontarini Architects-designed supertall, also planned for Toronto, announced earlier this year. Kroonenberg Geoep and ProWinko purchased the parcel at 1200 Bay Street, currently the site of a 1960s-era commercial mid-rise, in 2016 for $86.75 million. Speaking to Bisnow shortly after the sale, Jordan Karp, senior vice president of Paracom Realty Corp., mentioned at the time that the two developers were aiming to transform the site into a top office property for the upscale retail-heavy Mink Mile section of Yorkville, which is centered on Bloor Street. That approach, however, has apparently shifted as Herzog & de Meuron’s design appears to be primarily residential. Per a media release, the toothpick-thin tower’s bottom sixteen floors will be dedicated to offices and retail space. Above this will be 332 condominium units, ranging from one-bedrooms to multi-level penthouses, spread across 64 floors accessible by a quartet of dedicated elevators through a triple-height private lobby on Bloor Street. A “private amenities level” will provide a buffer between the lower commercial floors and the residential floors above. The top three floors will be home to a sky lounge, restaurant, and rentable event spaces, all of which will no doubt come equipped with stunning panoramic views. “Providing diversity in the proposed program is an important component of the building’s approach to sustainability and enhancing the vibrancy of the local community,” reads the announcement, noting that the residential floors will be “characterized by generous daylight through the floor-to-ceiling operable windows which provide natural ventilation.” “The proposal is a layered expression of the vertical structural elements, interior glazing (thermal envelope), exterior timber roller shades and an outer layer of transparent, open-jointed glass," the announcement goes on to explain. “The effect is a building which at times appears transparent and expressive—revealing the scale and activity within the building; and at other times, the reflective outer layer of glass gives the building an abstract quality, emphasizing its dramatic proportion.” While this is the second Toronto project to be developed by ProWinko, it’s the first for Kroonenberg Groep. “This is an iconic block in the neighbourhood and Toronto at large. We have an opportunity to deliver a project that sets a new benchmark for design and strives to give something back to the city,” said Lesley Bamberger, owner of the latter company. Meanwhile, four provinces over in British Columbia, Herzog & de Meuron is also heading up the revamp of the Vancouver Art Gallery, which is the firm’s first project in Canada.
Posts tagged with "Herzog & de Meuron":
The saga of Herzog & de Meuron’s Westminster Abbey-inspired replacement stadium for Chelsea FC has sputtered to a final conclusion after the delay- and lawsuit-plagued $1.3 billion project was put on indefinite hold during its pre-construction phases in May 2018 due to the “unfavorable investment climate.” As reported by Building Design, planning permission, first granted in 2017, expired on March 31. The club made no effort to proceed with redevelopment work within the past three years, which, in turn, has rendered the project nullified. The neo-gothic brick behemoth, ringed by 264 buttresses, would have replaced Chelsea FC’s current 41,0000-seat-capacity South West London home, the venerable Stamford Bridge stadium, as well as some of the surrounding buildings. If the highly distinctive new stadium, described by Herzog & de Meuron as a “cathedral of football,” were to have proceeded, it would have provided the club with a significant increase in capacity by 19,000 seats. The hulking complex would have also included retail, a museum, full-service restaurant, and other amenities. In addition to facing a sweep of legal challenges mounted by neighboring residents and businesses, the proposed stadium’s short, turbulent life was also hampered by visa-related drama involving Chelsea FC’s owner, the billionaire Russian-Israeli oligarch, Roman Abramovich. Despite local protest, the stadium did have a glowing fan in the form of London Mayor Sadiq Kahn, who referred to the proposed facility as “a jewel in London’s sporting crown.” Other peerless (completed) sporting venues designed by Herzog & de Meuron include Beijing National Stadium (aka the Bird’s Nest) with Ai Weiwei, Nouveau Stade de Bordeaux, Munich’s Allianz Arena, and St Jacob-Park in the Pritzker Prize-winning firm’s home base of Basel, Switzerland.
Swiss firm Herzog & de Meuron has unveiled its design for Autobahnkirche, an appropriately austere roadside chapel to be built near the small village of Andeer, alongside the A13 motorway in the firm’s home country. A major north-south route, the A13 transverses the eastern section of the Swiss Alps through the sprawling, trilingual canton of Graubünden. Along with wayside shrines, ecumenical chapels situated along long and lonely stretches of highway are fairly common across Europe, particularly in Belgium, Finland, Sweden, Denmark, and Germany, where there are nearly 50 so-called “road churches” or Autobahnkirchen. Herzog & de Meuron’s 3,000-square-foot Autobahnkirche will be the first of its kind in Switzerland. While this is somewhat surprising considering both the country’s monastic associations and its white-knuckle alpine highways, the Swiss populace is increasingly non-religious. The Autobahnkirche aims to be both a singular pit stop for motorists traveling along the A13 as well as introspection-seeking local residents regardless of their religious beliefs (or non-beliefs). Painted in the customary solid white, Herzog & de Meuron’s angular, box-shaped structure will be highly visible from the motorway as a distinctive beacon. Of the project, Herzog & de Meuron wrote:
"The idea for the chapel in Andeer had to emerge from the site alone, from the location, from the road. And we did not want to work with explicit religious signs or symbols, even less with Christian symbols such as a cross or representations of Christ. We were looking for architecture that would sharpen the perception of visitors — of the location, the natural environs, and even of the way they see themselves."The Autobahnkirche will be comprised of four individual spaces, all of them functioning as distinct sanctuaries. One doubles as a sheltered overlook of sorts where visitors can take in sweeping views of the pastoral countryside through a massive ovoid window. The structure’s main entrance is through an airy aboveground sanctuary enclosed by walls that “just lean against each other; they lean and support at the same time,” as the architects put it in a press statement. “One of them stands upright. Almost like the wall of a choir. A simple gesture that emerged almost in play.” After descending down a staircase from the aboveground space, visitors will enter into the hushed subterranean heart of the chapel, a tunnel-like sequence of three cavernous chambers that will each serve an individual purpose while flowing seamlessly into each other. The first room will be a circular refuge for “readers” in which natural light pours in from above. Moving deeper into the underground area, visitors will find a more somber room with a reflecting wall that’s illuminated only by candle and a single skylight. “This is the most personal place for visitors; here they are confronted with themselves,” explained Herzog & de Meuron. Beyond this space is the magnificent viewing room, where the dramatic alpine beauty that envelopes the Autobahnkirche is on full display. “The deeper you go, the weaker the sounds from the motorway and the stronger the sound of your own footsteps,” writes Herzog and de Meuron. “Finally, when you reach the last room, strong daylight streams into the heart of the chapel and you see a panoramic view of the landscape, the village, and the lush green meadows and woods. Perception of the vegetation is heightened by the complementary red of a room-height pane of tinted glass. The sun, setting in the evening, shines through the red glass into this last portion of the chapel, which leads directly to the landscape outside.” Autobahnkirche is the first building with spiritual affiliations designed by Herzog & de Meuron, although the Basel-headquartered firm did participate in a 1989 design competition for Zurich’s Greek Orthodox Church. No timeline has been made public for the chapel’s construction, or the project’s estimated cost.
The Berggruen Institute, a political think tank founded by billionaire investor and philanthropist Nicolas Berggruen in 2010, is officially moving ahead with the construction of a headquarters in the Santa Monica Mountains. A $500 million endowment has been set aside for the project the institute is calling a “scholars’ campus,” designed by Swiss architecture firm Herzog & de Meuron and the multinational Gensler, all nestled within landscaping designed by Michel Desvigne and Inessa Hansch. In 2017, when the project was first announced, Pierre Herzog of Herzog & de Meuron told the Los Angeles Times that the campus “will be a place of knowledge, of research, of curiosity, and also of some privilege at the same time. It will be something that ideally helps to make our societies work again.” While the institute owns a 450-acre parcel, it is proposing to build on fewer than 22 acres, leaving roughly 95 percent of the site in its current condition, and the headquarters will be raised 12 feet above the ground on pillars. The 137,000-square-foot campus will include conference spaces, offices, study quarters and other facilities along a square perimeter. Its hard-edged geometry will be contrasted by two spheres—one a 250-seat lecture hall at the project’s center, and the other a water tower on the roof. A residence for Berggruen and his family will be constructed along the northern edge of the site, while a grouping of 15 living units for visiting scholars will be set closer to the campus. The campus will also include exhibition spaces to complement the institute’s recently announced Transformations of the Human Program, a research-based initiative for which it has selected ten inaugural Artist Fellows, including Pierre Huyghe, Anicka Yi, Martine Syms, and Kahlil Joseph. “We look forward to the ways the artist fellows will expand our understanding of how our definition of humanity is changing,” Berggruen told the Art Newspaper. “It is also a great pleasure to elevate the role of the arts at the Berggruen Institute by commissioning them to make the first works in our envisioned art collection.” Once complete, the Berggruen Institute will move from its current location in the Bradbury Building in Downtown Los Angeles to the Santa Monica Mountains to be closer the Getty Center—another campus-like, billionaire-funded development romantically isolated in the mountains.
Long live the new bean: The long-delayed New York version of Anish Kapoor’s Cloud Gate in Chicago (colloquially known as The Bean) is finally rising at the foot of the Jenga-like Herzog & de Meuron’s (and executive architect Hill West Architects) 56 Leonard in Tribeca. Prep work for the mirrored sculpture began last summer, as the sculpture’s outline was marked out on the concrete plaza below the tower. Installation proper began in October, and the piece, a bean similar to Cloud Gate but squished below 56 Leonard’s mass, has steadily been arriving in pieces since then. Although the building above was completed in 2016, the bean, which was always intended as part of 56 Leonard (featuring into renderings as far back as 2008) has been repeatedly delayed. As Tribeca Citizen explains in an excerpt from fabricators Performance Structures, Inc. to the building’s developer in 2018:
The Leonard Street sculpture requires equivalent accuracy and precision, but with an added component. Cloud Gate was assembled in Chicago from the finished plate sections and support framework, built at our facility, and then all the joining seams were welded together on site. After the seams were welded, they all needed to be ground down, and the seam zones sanded and polished to match the rest of the plate surfaces. This on-site seam welding was very laborious and extremely costly. […] [...] In order to make the Leonard Street sculpture installation more expeditious, and to save costs, it was decided to build the precision components such that they could be tightly fit together, with the seams thereby becoming nearly invisible hair line cracks. This concept was successfully tested in a sample piece produced by us, and presented to the Artist for his approval prior to beginning the project.In addition to needing to mill and test extremely precise, interlocking metal plates, each segment will need to be bolted to the concrete plaza, then a system of tension cables for each section will need to be installed and properly calibrated. This will allow the bean to sway with the wind and expand and contract safely with fluctuations in temperature. Although at the time of writing the sculpture is sitting approximately half-finished with the exposed opening covered in plywood, it looks like 56 Leonard will finally be finished.
Herzog & de Meuron beat out 22 design studios, including Diller Scofidio + Renfro, Johnston Marklee, and OMA, for the chance to design a new building for the Brooks Museum of Art—Tennessee’s oldest and largest art museum—in downtown Memphis. The Swiss firm will work alongside local powerhouse archimania to bring the cultural institution into the 21st century with a new, $105 million facility. Slated to rise on top of a bluff overlooking the Mississippi River, the upgraded Brooks Museum will be part of an ongoing six-mile development aiming to activate the riverfront with parks, walking paths, as well as civic and recreational structures. Studio Gang is at the helm of reimagining the 30-acre industrial site and the museum will serve as its anchor. According to Memphis Mayor Jim Strickland, the chosen site will be a major economic stimulus for the city and signals its embrace of the Mississippi River as its greatest local asset. Herzog & de Meuron's plan for the Brooks Museum, which is expected to be unveiled early next year, will be 112,000-square-foot in size—a quarter larger than the existing facility in Overton Park—and will feature double the amount of storage and art handling space. It will also include expanded public galleries with room for its prestigious permanent collection as well as temporary exhibitions. Classrooms, a theater, a dining area, and a museum store will also be integrated into the design, along with an outdoor sculpture park that’s set to feature rotating public art. In a statement, Executive Director Emily Ballew Neff said the reenvisioned Brooks Museum aims to become a new landmark for the city and she believes the architects will create a “fitting formal response” to the riverfront site and approach the project with “unrivaled sensitivity to materials and craftsmanship.” “Herzog & de Meuron is exceptional among the architectural firms that design art museums for the way it creates galleries for a whole range of art,” she said. “Several architects (at the firm) also happen to have spent formative years in and around Memphis. These team members will provide a kind of local knowledge that will surely contribute.” A strong understanding of this unique western Tennessee landscape will be key in designing the Brooks Museum’s new identity. The building will be constructed on the corner of Front Street and Monroe Street, one block from Memphis’s Main Street to the east and one block from the river to the west. Members of the mound-building Mississippi Culture and, later, the Chickasaw Nation used to occupy the bluff before the Europeans settled the area. In the 19th century, this area served as the city’s old Cotton Row. Today the area is emerging with the rest of downtown Memphis as a major educational, cultural, and business district in which the Brooks Museum is expected to not only spur new development in the urban core, but also attract visitors from all of Tennessee, Northeast Arkansas, and Northern Mississippi.
Every year the Architectural League of New York recognizes eight dynamic young firms as Emerging Voices that have the potential to become leaders in the field. Historic winners like Morphosis (1983) and Toshiko Mori (1992) have become today's lions, and practices like Johnston Marklee (2007) and Tatiana Bilbao (2010) have jumped to new heights after recent wins. This year's crop was selected in a two-stage portfolio competition where a jury of architects selected the winners. The deciding jury included several previous winners like Dominic Leong (2017), Fernanda Canales (2018), and Marlon Blackwell (1998), giving the process a familial feel. Laureates for 2019 come from across North America and almost all are partnerships or collaboratives—capital letters feature prominently, too. Davies Toews will lecture at the Scholastic Auditorium at 130 Mercer Street, New York, New York, at 7:00 p.m. on March 7, as part of the Emerging Voices lecture series. The storefront office of Davies Toews Architecture is tucked behind a corner of 13th Street in Manhattan’s East Village, and like so many of the firm’s projects is defined by constraints. Common elements like outdoor tile and plywood create a homey atmosphere, and models and materials are tightly arranged throughout the space, inviting passersby to peer in on the studio’s creative process. Partners Trattie Davies and Jonathan Toews are no strangers to working around tight spatial and financial limitations. Whether it’s a linear park that rises between a descending set of switchback staircases in Hudson, New York; a perspective-defying, split-level park and art gallery in Memphis, Tennessee; or a three-story townhouse in Brooklyn, their projects are united by the common thread of extreme site-specificity. “Our strategy has been: Do first, analyze second,” said Davies. “It’s really important for us to build work, to learn about how things get done—what works and what doesn’t work, so we could get good at it. Most of what we do is built. We do very few competitions.” Fittingly, materiality plays a large role in these completed projects. For the 72,000-square-foot University of Chicago Charter School: Woodlawn Campus, a school for grades 6 through 12 with a 100 percent college acceptance rate, the studio had to balance a modest budget with lofty design ambitions. Using only locally produced Chicago brick, the studio designed a variegated, kinetic facade by patterning the building with darker, extruded brick. The school’s ﬂared parapets and step-gap massing reference missing buildings in the surrounding neighborhood, breaks in a uniform street wall. “We realized that, project after project, the design came from the constraint,” said Toews. “Lately we’ve been thinking a lot about how to design with Sheetrock.” Even Sheetrock, a ubiquitous and uniform material, can provide inspiration; Davies compared the alternating bands of color in stacked, wrapped Sheetrock to a tapestry. “Every project gets modeled,” said Toews. “There’s the idea of the model sitting there; you can’t avoid it. We just try to keep making stuff around the project until it gets better and better.”
Herzog & de Meuron has finalized the design of the 300,000-square-foot Vancouver Art Gallery and has released new renderings of the top-heavy timber building. The $350 million arts complex in Vancouver, Canada, also has a new name. After a $40 million private donation from the Chan family on January 23, the Vancouver Art Gallery (the organization responsible for the building’s programming) announced that the building would be renamed the Chan Centre for the Visual Arts. The gift is the largest single private donation in the history of British Columbia and has brought the amount raised for the building to $85 million. That marks an important figure as the provincial government has pledged that it would donate $50 million if the Vancouver Art Gallery were able to raise $100 million in private funds. The newly-revealed design for the Chan Centre presents an airy update to the scheme that was initially presented in 2015. Herzog & de Meuron has kept the stacked, seven-story massing, but replaced the opaque timber facade with fluted glass screens that are supposed to resemble stacked logs. The building rises from a narrow footprint to cut down on its impact on the street and create a covered open-air courtyard at ground level. The arts center expands as it rises, creating covered areas protected from the summer sun and winter rain and snow. It appears that Herzog & de Meuron has leaned more heavily into timber than in the original scheme, using wood for a majority of the interior finishes, columns, and supportive elements. Once complete, the center will hold classrooms, 85,000 square feet of gallery spaces, a theater, reading rooms, shops, and restaurants. Even the building’s location is hub-like; it lies at the intersection of the Downtown Vancouver, East Vancouver, Chinatown, Yaletown, and Gastown neighborhoods. “The project for the new Vancouver Art Gallery has a civic dimension that can contribute to the life and identity of the city,” said senior Herzog & de Meuron partner Christine Binswanger, “in which many artists of international reputation live and work. The building now combines two materials, wood and glass, both inseparable from the history and making of the city. We developed a facade out of glass logs which is pure, soft, light, establishing a unique relation to covered wooden terraces all around the building.” Fundraising is ongoing, with the Vancouver Art Gallery looking to raise $300 million for the building’s construction and $50 million to establish an endowment. If all goes as planned, construction is expected to start either late this year or in early 2020, with an opening planned for some time in 2023. Perkins+Will Vancouver is the project’s executive architects.
Herzog & de Meuron have donated materials representing nine of the firm's built and unbuilt projects from 1994 and 2018 to the Museum of Modern Art. Presented through the firm’s charitable foundation, the Jacques Herzog and Pierre de Meuron Kabinett, the gift will include 23 physical objects, including models, architectural fragments, sketches, and digital assets. In a statement, MoMA said that the nine projects showcase the firm’s three-decades-long work challenging conventions of materiality, structure, and typology. Four projects, in particular, will demonstrate these things: Dominus Winery in Napa Valley, California; 1111 Lincoln Road in Miami Beach, Florida; 56 Leonard in New York; and the Elbphilharmonie in Hamburg, Germany. The donation will also highlight collaborations with famous artists. Work with Thomas Ruff on the Eberswalde Technical School Library in Germany, with Michael Craig-Martin on the Laban Dance Centre in London, and with Ai Weiwei on the National Stadium in Beijing will be spotlighted. MoMA’s permanent collection already includes four architectural projects done by the Swiss firm from 1988 to 1997 and one design object from 2002. Martino Stierli, the chief curator of architecture and design at MoMA, said in a statement that the new works will be a key feature of the museum’s newly expanded galleries, opening this spring.
Herzog & de Meuron has completed the first building in a massive new tech campus being developed outside Moscow. The Skolkovo Institute of Science and Technology (Skoltech) University East Wing Building is the hub of District 3 of the five-district Skolkovo community. Skolkovo is a new ground-up development meant to be a home for research and technology just outside the Russian capital. District 3 houses the area's university, Skoltech, which will live in the new East Wing Building and two forthcoming structures also designed by the star Swiss firm. The new 1,442,000-square-foot building takes the form of a massive partially-filled ring with a 919-foot diameter. The outer ring and two smaller inner rings house academic facilities, shared spaces, and an auditorium, while staggered bars stretch across the building to house workshops and laboratories. A large basement floor runs across the structure's footprint to accommodate support and technical facilities. A jigsaw roofline cuts across the bars and rings to unite the structure. One result of the building's distinctive parti is a collection of courtyards of various shapes and sizes. These outdoor areas are framed by the building's striated facade, which materially codes the ring and bar spaces. The rings are clad in vertical larch wood fins, while white aluminum fins skin the bars. The building is not the first ring-shaped structure for Skolkovo. In 2010 David Adjaye completed a building for the Moscow School of Management Skolkovo with a large circular podium topped by cantilevering bars. Foster + Partners more recently completed Apple's headquarters with another circular design for a tech campus.
Swiss firm Herzog & de Meuron has released revised renderings for its four-story addition to Berlin's Kulturforum (Culture Forum) complex. The firm's winning entry for the Museum of the 20th Century, first revealed in 2016, is intended to increase gallery space for the Mies van der Rohe–designed Neue Nationalgalerie, store artworks, and connect the different cultural institutions in the area. The design is developed in collaboration with the Neue Nationalgalerie, the Berlin State Museums, and the Prussian Cultural Heritage Foundation. The building nods to the nearby Matthew Church in both its materiality and form, with its pixelated brick patterning and a vernacular gabled roof profile. The design also references warehouses, barns, and train stations. News renderings show a building with distinct facades on each side and multiple entry points that open to different parts of the cultural complex and the city, with a central area for showcasing large-scale modernist art. The multiple-entry design also allows for events to take place in a screening theatre outside of regular museum hours. Overall, the museum demonstrates a decidedly urban ethos in fully embracing its surrounding context, from the architecture by van der Rohe and Hans Scharoun to much older structures. According to Jaques Herzog, "Our urban planning concept for the Kulturforum is a concept of density, not of emptiness. It organizes an interplay of buildings put into precise relation with each other, and it also initiates the interaction of the cultural institutions established in those buildings."
Architecture curator and former AN columnist Aric Chen has stepped down from his role as the lead curator for design and Architecture at M+ in Hong Kong’s West Kowloon Cultural District and has taken on the title of curator-at-large at the museum. In addition to M+, Chen will be focusing on other curatorial projects as well as teaching, including guest curating the 2018 Beazley Designs of the Year exhibition at London’s Design Museum, from his new base in Shanghai. M+, first proposed in 2007 but currently without a permanent home, is focused mainly on the visual culture of Asia, in a global context, throughout the 20th and 21st centuries. The museum’s collection includes a wide variety of pieces including paintings, architectural models, furniture, digital art, performance art, and more. Following an international design competition in 2013, Herzog & de Meuron were chosen to design M+’s permanent home in West Kowloon. The 700,000-square-foot waterfront museum will resemble a ceramic-and-glass-clad, upside down “T” once complete and will hold over 180,000 square feet of exhibition space, performance spaces, cafes, offices, three theaters, and a rooftop terrace. Construction has been fraught with delays, and there have been fears of cost overruns as the West Kowloon Cultural District Authority fired its main contractor earlier this month. While construction has been put on pause for six weeks as the authority searches for a replacement, the managing body has maintained that the museum will still open in 2020 as previously promised. Chen, who had served as M+’s lead curator since 2012, oversaw the formation of the museum’s design and architecture department and its acquisitions. He also led the establishment of the department’s programming and curatorial team. Chen also served as the first creative director for Beijing Design Week from 2010 to 2012. His online exhibition NEONSIGNS.HK, an interactive catalog of Hong Kong’s vibrant neon sign ecosystem, won Chen praise when it was released in 2013, and it won a Webby. Chen’s most recent book, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, is available now.