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."
Posts tagged with "Herzog & de Meuron":
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.
The Harvard Graduate School of Design (GSD) has announced that Swiss architects Herzog & de Meuron have been selected to design a “transformative” expansion of Gund Hall, the GSD’s main building on the Harvard campus. New York-based Beyer Blinder Belle (BBB) will serve as executive architect on the project. Gund Hall, designed by Australia architect and GSD alumnus John Andrews, opened in 1972. The building has a distinct presence, as the brutalist hall’s exposed concrete, dramatic slope, and multi-story overhangs set it apart from the other buildings on Harvard’s campus. The new expansion is expected to create an intersection for the administrative rooms, classrooms, studio space (called “the trays”), research library, and social gathering spaces currently within Gund Hall. In a statement, the GSD mentioned that the expansion will have a minimal footprint and won’t require reclaiming any of the campus’s greenspace. When the project is complete, it should completely reorganize the programmatic flow of Gund Hall and create a more space-efficient building. “The GSD’s groundbreaking collaborations with theoretical and applied disciplines, and other professional schools at Harvard, bring collective expertise to bear in addressing the most pressing social and environmental challenges of our time through design innovation,” said Mohsen Mostafavi, Dean and Alexander and Victoria Wiley Professor of Design, Harvard GSD, in a statement sent to AN. “Herzog & de Meuron and BBB have carefully studied and observed the School’s many qualities and characteristics, and they have a bold design vision for the GSD and its engagement with other disciplines and professional schools across Harvard, and for its impact on the world. We are excited to collaborate with both firms on the creation of an important and dynamic center for design innovation here at the GSD.” Both Herzog & de Meuron and BBB have extensive histories with Harvard. Jacques Herzog and Pierre de Meuron have been teaching and conducting research projects with the school since the 1980’s, and BBB has completed several projects on the campus over the last 14 years. Their most recent work includes renovations to the historically sensitive Winthrop and Adams Houses. No completion date or cost estimates have been released yet. AN will follow this story up once design details and renderings of the expansion are released.
Plans for the $1.3 billion gothic revamp of British soccer team Chelsea Football Club’s Stamford Bridge stadium in London have been shelved, according to a cryptic message posted on the club’s website citing “the current unfavourable investment climate.” First revealed in 2015, the Herzog & de Meuron-designed stadium would have replaced Chelsea’s current field along with the surrounding buildings, and put up a 60,000-seat replacement in its stead. Initially pegged as a $664 million project, costs rose as delays and lawsuits from homeowners and businesses who would be in the new stadium’s shadow mounted. The stadium’s defining feature (aside from the 20,000 new seats, all of which were promised unobstructed views) would have been the 264 brick buttresses ringing the field. The arches would form a covered loggia around the stadium’s central pitch, and supported a steel ring above the field, providing the structural supports for the additional seats, shops, a museum, and a restaurant. Both the brickwork as well as the black, wrought-iron detailing are less-than-subtle references to vernacular British architecture; Herzog & de Meuron described the vaulting design as a “cathedral of football.” The Guardian paints a more comprehensive picture of why the project was put on hold. Chelsea club owner Roman Abramovich, a Russian-Israeli businessman, has found himself caught in the crossfire of the worsening relationship between the United Kingdom and Russia. Abramovich has found himself unable to renew his investor visa, and as the delays mounted, the billionaire expressed frustration at the idea of investing in a country that was delaying his ability to do business. While Abramovich would still be allowed to stay in Britain, he technically wouldn’t be able to do any work there. AN will update this story as more information becomes available.
United Talent Agency (UTA) will be moving their Los Angeles art space from Boyle Heights to a former warehouse in Beverly Hills this summer with an architectural overhaul designed by their own client, renowned Chinese artist Ai Weiwei.UTA opened their first art space in 2016 after founding a fine arts division to represent high-profile artists in 2015. While getting some positive press from art world critics, the space, along with a number of other L.A. galleries, received flack and community pushback for contributing to gentrification in the Eastside. Perhaps it is then fitting that UTA Artist Space will be relocating to Beverly Hills, taking over a 4,000-square-foot former diamond-tooling facility. Ai’s yet-to-be-released design is inspired in part by the architectural similarities of the concrete Los Angeles warehouse to his own Beijing studio. This is hardly Ai’s first foray into architecture. The artist has collaborated with Herzog & de Meuron on more than one occasion, including on major commissions like the Beijing National Stadium (commonly referred to as the “bird’s nest”) and the firm’s 2012 Serpentine pavilion. Ai has also collaborated with other firms on architectural projects and, since 2003, has run his own architecture firm FAKE Design. While Ai himself will exhibit a series of new marble works at the new UTA Artist Space this October, the gallery will open in July with a color field-focused show entitled One Shot featuring the work of Morris Louis, Helen Frankenthaler, Kenneth Noland, Sam Gilliam, and Jules Olitski, among others.
Meet the incubators and accelerators producing the new guard of design and architecture start-ups. This is part of a series profiling incubators and accelerators from our April 2018 Technology issue. Trimble-owned Gehry Technologies (GT) launched a three-month design-and-technology-focused accelerator program called ZeroSixty that is geared toward helping a new generation of innovators revolutionize project delivery across the AEC industry. The accelerator program will help start-ups based out of its Marina del Rey, California, offices to “build and scale” their services by connecting new entrepreneurs with “people, networks, and technologies,” according to the company. The effort is aimed at turning back the increasingly common trend among mega-projects of being over budget and behind schedule. ZeroSixty comes three years after software developer Trimble purchased GT in an effort to integrate and disseminate innovations in technology-driven project delivery across its various platforms. GT was originally founded in 2002 by Frank Gehry and his team at Gehry Partners to adapt techniques from the aerospace and automotive industries and apply them to the firm’s most complex building projects. In the years since, the group has worked on a variety of challenging projects across the world for various high-profile architects, including the Beijing National Stadium with Herzog & de Meuron and the Louvre Abu Dhabi with the Ateliers Jean Nouvel. ZeroSixty was founded by German Aparicio and Lucas Reames, both GT veterans, earlier this year and is currently accepting applications for its first cohort of companies. “The idea is to help entrepreneurs scale their products and services by leveraging our past experiences, field expertise, and client base while continuously seeking to innovate,” Aparicio said. The GT team has always been at the forefront of this niche within the AEC industry, including back in the early 2000s when, working on the Walt Disney Concert Hall in Los Angeles, they were among the first to utilize virtual reality visualizations for on-site construction. Now, Trimble and ZeroSixty seek to build upon this legacy by focusing on new AEC-related applications for emerging technologies like machine learning, artificial intelligence, augmented reality, and data analytics. “These technologies offer the opportunity to provide greater insights using a data-driven approach to project delivery and increase the quality and efficiencies of our industry,” Aparicio explained. With ZeroSixty and its no-equity support for emerging practices, Trimble has its eyes firmly set on building the future. Aparicio added, “These technologies promise to create services on the web that can be used on demand to automate everyday tasks so designers, project managers, contractors, and facility operators can focus on the more interesting or important part of their everyday lives.”
Buildings have been reliable photography subjects since the medium’s invention, and a new exhibition at the Parrish Art Museum in Southampton, New York, tracks how architectural photography sells a narrative as much as the buildings themselves. Through careful selection by guest curator Therese Lichtenstein, Image Building: How Photography Transforms Architecture examines how architectural photography inherently creates subjective experiences. From now until June 17, 2018, patrons can view 57 images by 17 renowned and lesser-known photographers who shaped a language of architectural photography that’s survived well into the age of Instagram. Organized thematically intro three sections, Cityscapes, Domestic Spaces, and Public Places, Image Building places historical photographs alongside contemporary images to track an evolution in style, technique, and places themselves. Modernism has proven an especially rich vein for these comparisons. Image Building places Julius Shulman’s carefully staged Case Study House photos against images of quotidian features from cookie-cutter, low-income housing. Each series is trying to sell something, whether it be an idealized life of post-war leisure, or commentary on the alienation that mass-produced housing induces. This dichotomy is on display throughout the exhibition, and hammers home the heightened artificiality of architectural photography. Buildings are three-dimensional structures and flattening them hands the narrative over to the photographer. For instance, Hiroshi Sugimoto’s fragile, out-of-focus takes on famously photographed architectural landmarks are a commentary on their now-lessened status in the world, having been sidelined and (literally) overshadowed in the years since their construction. But this series serves another purpose, as it highlights how vital the technical aspects–light, depth of field, the use of color–are to each photograph's meaning. Take Iwan Baan’s delirious photos of Torre de David in Caracas, Venezuela. Devoid of people, but featuring the scattered items they’ve left behind, Baan captures the chaotic energy present in the half-finished Torre de David skyscraper, now overrun with squatters, from the perspective of its inhabitants. Looking at The City and the Storm, Baan’s aerial photo of a Manhattan plunged into darkness following Hurricane Sandy, Baan singles out what he calls the “electricity haves and have-nots,” as viewers are drawn to the centers of finance that serve as islands of light in a darkened city. The Parrish Art Museum, designed by Herzog & de Meuron and shaped like an extruded “M,” built from simple materials and completed in 2012, played an important part in the foundation of Image Building. As Lichtenstein told AN, the Parrish itself was partly the inspiration for the show. The way it was sited, the photographs that Baan took of the building, and the long, uninterrupted views down the museum’s “wings” all stoked questions of how photography proliferates the ideas behind the buildings themselves. As it becomes easier and easier to proliferate images of buildings, looking back to the history of the form may provide an important tool for the professional and amateur architectural photographer alike. On Saturday, April 14 2018 at 5:00 PM, the Parrish Museum will host a dialogue between The Architect's Newspaper's Editor in Chief William Menking and photographer Iwan Baan on the use of photography to instill buildings with feeling and meaning. More information on the talk can be found here.
Prada has thrown its 2018 fall menswear collection back to the 90’s, with a fashion show in Milan that put utilitarian black nylon front and center. Rem Koolhaas, Herzog & de Meuron, French designers Ronan & Erwan Bouroullec, and German industrial designer Konstantin Grcic were all invited to interpret the material through an industrial lens to create a unique item for the collection. Fashion designer Miuccia Prada’s rise to fame was built on black nylon in 1984; in weaving nylon, typically used for packaging at the time and not clothing, into the landmark luxury “Vela” bag, Prada transformed the luxury brand into a contemporary clothing company. The same waterproof “Pocone” nylon used in the original Vela bag was on full display yesterday at Prada’s preview of its Autumn Winter 2018 menswear collection in Milan. Instead of flash or color, the focus was on form and usage, and the menswear fashion week show was appropriately staged in an industrial warehouse with a Prada twist. The storage facility in Viale Ortles, Milan, was plastered with throwbacks to Prada’s past and lit with blues, reds and purples by AMO, the research and branding studio of OMA. This isn’t the first time AMO has worked with Prada, as they also designed Prada’s 2017 Spring/Summer venue. OMA founding principal Rem Koolhaas contributed a backwards backpack to the show, designing a black nylon pack meant to be worn on the front of the body. The boxy container is meant to be first and foremost accessible, as Koolhaas notes that the convenience of a backpack is negated by having to take it off to access. “The shape of the backpack has the convenience of flexibility, the location–the back–the huge inconvenience that it is fundamentally inaccessible to the wearer,” Koolhaas told Prada. In the same way the Vela bag advanced the backpack through material, Koolhaas’s pack was meant to be the next step forward in the bag’s shape. Jacques Herzog and Pierre de Meuron chose to focus on the clothing side, designing a shirt patterned with what looks like statements in English, but reveals itself to be gibberish upon closer examination. Calling language useless, Herzog & de Meuron reduced words to nothing more than ornamentation as a commentary on the way untrue information has saturated our daily lives. “It has lost its seductive power. There is nothing new, nothing critical, nothing true in language that cannot be turned into its opposite and claimed to be equally true. Language has become an empty vehicle of information,” reads Herzog & de Meuron’s statement to Prada. OMA and Koolhaas have had a longstanding partnership with Prada, collaborating on everything from a 120,000-square-foot arts complex in Milan, to the Prada “Epicenter” in New York. All of Prada’s 2018 Autumn/Winter menswear collection can be found here.
Paris is not known for skyscrapers. Its largest, the plodding, 690-foot Tour Montparnasse, is also acknowledged as the ugliest building in the metropolis. (Buildings in Paris itself were banned from rising above seven stories two years after Montparnasse was constructed.) And its largest concentration of towers, the La Defense district just west of the city limits, has not produced a critical mass of towers since it was created decades ago. But if plans hold, this is about to change significantly, as French officials and business owners have announced plans to overhaul both Montparnasse and La Defense, while the city's largest tower since Montparnasse, Herzog & De Meuron’s Tour Triangle, continues to move ahead. The owners of Tour Montparnasse, Ensemble Immobilier Tour Maine-Montparnasse, last month commissioned French consortium Nouvelle AOM to reclad and renovate the Tour Montparnasse as part of a $350 million modernization. The firm defeated an illustrious shortlist of international competitors that included Studio Gang (the runner up), OMA, MAD and Dominique Perrault Architecture. Nouvelle AOM consists of French architects Franklin Azzi, Fréderic Chartier, Pascale Dalix, Mathurin Hardel and Cyrille Le Bihan. Their plan will not only reskin the muted tower in a crystalline shell of multi-directional glass panels, but it will incorporate gardens into its façade and interior, highlighted by a mammoth sky garden on top. It will also modernize its interior and improve the surrounding plazas and landscapes, knitting the aloof tower back into the city fabric. Meanwhile last winter French President Emmanuel Macron (then still a candidate for President), shared Defacto La Defense's (the group that manages the area) plans to build seven new skyscrapers in the La Defense district by famed architects incuding Jean Nouvel, Arquitectonica, Foster + Partners, Christian de Portzamparc and others by 2022. The goal—touted by a marketing campaign called “Tired of the Fog, Try the Frogs!”— was to reposition the area as a business alternative to London, where Brexit has cast a confusing pall over international corporations. The towers, if built, would be called Trinity, Alto, M2, Hekla, Sisters, Air 2 and Hermitage Plaza. Marie-Célie Guillaume, chief executive of Defacto La Defense, last winter told FT that they wanted to send a “powerful message to businesses that are uncertain about their future.” It remains to be seen whether all of these projects will indeed move ahead, although, for one, Foster's web site still lists Hermitage as a go. Finally, Herzog & De Meuron’s Tour Triangle, a 591-foot-tall tower that will be the first within the city limits since Montparnasse (that law banning tall buildings in Paris was overturned a few years ago), continues to move ahead since its approval back in 2015. Located on the site of the Parc des Expositions in the 15th Arrondissement, the crystalline building’s pyramidal form is meant, say the architects, to open up a massive internal atrium, reduce shadows on adjacent buildings, and to create an increased setback from the nearby peripheral boulevard. Herzog & De Meuron’s web site lists completion at 2020. Most agree that the Tour Montparnasse is in need of a facelift. As for the remaining towers, Parisians are unsurprisingly split. Many have hailed the influx of offices, residential space and modernity into what is a frustratingly-frozen city. But opponents fear the beloved character that makes Paris Paris is destined to be lost. "Unless someone stops them now, international starchitects and their developer and corporate patrons will succeed in vandalizing the horizon of Paris," exclaimed preservation group SOS Paris after the announcement of the Tour Triangle. On verra.
This story is part of a monthlong series of guests posts by AIA New York that feature Archtober Building of the Day tours. See the full 2017 schedule here. Today’s Building of the Day tour gave participants an exclusive look at 56 Leonard Street, designed by Swiss architecture firm Herzog & de Meuron, who also designed the building's interiors. The tour was led by Mehmet Noyan, Associate at Herzog & de Meuron and Project Manager of 56 Leonard, which was developed by Alexico Group. Participants viewed a four-bedroom, 4.5-bathroom penthouse and the amenity floors for the building. The tour began outside the building, with a discussion of its unusual structure. 56 Leonard Street was designed “from the inside out,” according to the designers. Each unit is meant to be personal and individualized, unlike most high-rise apartment structures. The structure is intended more as a “vertical neighborhood” than an apartment complex. The balconies, which jut out at staggered intervals, were intentionally designed to not block sunlight for those below. This design also adds increased privacy for residents, since direct views to other units are limited. The top units of the building take this aesthetic to the extreme, with large terraces that cantilever out at greater distances. It is these cantilevered upper units that give the building its Jenga-like appearance. The penthouse apartment that Archtober participants toured has been recently purchased for an undisclosed amount. The apartment is currently empty, which only served to emphasize the design features and, most importantly, the amazing views. The unit spans the entire floor, with views in every direction, but the wrap-around terrace outside the kitchen and living room was by far the most stunning. The views span the entire eastern side, with views into Brooklyn as well as up into midtown and down to the financial district. The unit featured 14-foot, ceiling-to-floor windows, solid white oak floors, a black kitchen island, and white and neutral colors in the bathrooms. Noticeably, the surfaces in the apartment, including those in the bathroom and kitchen, were all done in a matte finish, which worked well–the amount of light in the apartment would have made reflective surfaces an unattractive option. The two amenities floors contain a gym, pool, lounge, sundeck, spa, theater, and children’s room; both floors also have terraces. Perhaps most impressive on these floors was the giant spiral staircase of poured concrete connecting the two levels. The stairwell matched the concrete core of the building, but because of the windows and carpeting, the amount of poured material does not overwhelm the space. Join us tomorrow at the Staten Island Courthouse, St. George. Author: Mary Lib Schmidt
Swiss architecture firm Herzog & de Meuron has revealed renderings for a new 447-acre mountaintop campus for the Berggruen Institute, a policy-focused consortium of think tanks funded by billionaire Nicolas Berggruen. The complex—made up of a collection of subdued structures that occupy only roughly 10% of the overall site—is being planned to include a private residence for Berggruen’s family, 15 scholars’ residences, and a series of gardens strung along a publically-accessible linear park. The campus is anchored on its southern end by a low-slung research center with views towards Downtown Los Angeles. The campus will be located on a mountaintop that was formerly used as a landfill; the project site consists of a portion of the mountainside that was scraped and flattened in the 1980s in order to cap the landfill. That previously-disturbed 32-acre section of land will contain the development in its entirety, with the remaining 415-acres of the property persisting in a more-or-less natural state. The linear site is organized with the private residence at its north end, the scholars’ residences at the center, and the linear park and research center at its southern tip. The research center—dubbed “the Institute Frame” by the architects—consists of a rectangular structure containing a large courtyard at its center. The building is lifted 12 feet off the ground and contains a variety of indoor-outdoor connections along the elevated sections. The Frame’s courtyard will contain natural landscaping, a spherical 250-seat lecture hall, and a large reflecting pool, among other components. The frame structure will also house visiting scholars in a collection of apartments, with plans calling for 26 scholars-in-residence units and 14 visiting scholar units. The Frame Institute will also contain meeting rooms, study spaces, offices, artists’ studios, media spaces and dining and reception areas, according to the release. Regarding the pared-down architectural approach, Jacques Herzog of Herzog & de Meuron told the Los Angeles Times, “We want to use the spheres in the purest possible way, to make them almost immaterial. Not an expression of new technologies or a heroic engineering solution. They shouldn’t show any sign of effort or structural expression. We were just interested in this idea of the purity of the form—in its innocence, so to speak.” In a press release announcing the project, Nicolas Berggruen stated, “By building our campus here on the Pacific coast, we hope to advance the position of Los Angeles as a world center for ideas, linking the East to the West. By commissioning this visionary design from Herzog & de Meuron, we demonstrate our intention to make an important contribution to the architecture of Los Angeles and the world.” Gensler will work as the executive architect on the project, with landscape design to be performed by Michel Desvigne Paysagiste and Inessa Hansch Architecte. Although the project has already begun initial planning review, a timeline for the project has not been released.
Today, New York’s Park Avenue Armory unveiled an interactive exhibition by Herzog & de Meuron and Ai Weiwei entitled, Hansel & Gretel. Emulating modern day surveillance, drones swirl overhead while infrared cameras document the viewers’ every move, screening the footage along the floor. Visitors in the installation are both watching and being watched, leaving digital “breadcrumbs” behind to be gathered and stored—hence the fairytale name. The effect is disturbing, thought provoking, and surprisingly fun as visitors posed themselves to create works of photographic art on the floor and took selfies (it is unclear if that was the designers’ original intentions). Visitors enter the Park Avenue Armory’s 49th Drill Hall through the Lexington Avenue side door rather than through the main doors. According to Herzog & de Meuron, this helped distance the Armory’s ornate architecture from the very modern display inside. “We wanted people to enter the space as you would a park, and we envisioned an entrance like a mouse hole, so we originally wanted to make a hole through the brick walls, but that was…complicated,” said Jacques Herzog at the opening. “The second best option was to use the existing two doors on Lexington Avenue and create a tunnel leading to the hall.” From the tunnel, a five-foot embankment leads up into the space, which hums with the sound of drones and visitors. Taking advantage of the area's scale, the room is dark and amplified with red laser lights. Upon exiting, the viewers can see the footage of the room being displayed in the Head House, realizing the extent of the “surveillance” at hand. In the hall, iPads allow visitors to use facial recognition software to find additional images of themselves and provide educational materials on drones and surveillance technology. Weiwei, who has been under surveillance in China, explained, “I think everyone is under surveillance to varying degrees. Human nature is searching for truths by any means necessary.” Hansel & Gretel is on view at the Park Avenue Armory through August 6.