We surveyed the leading women in the facade design and manufacturing industry and asked: What do you find most interesting about facade innovation today? What are you working on now and what do you think we will see in five years? Their responses, organized into six categories, offer an informal cross section of the challenges facing the facade industry—climate change, security—and of a coming multi-material revolution in facade design.Emilie Hagan Associate Director, Atelier Ten Climate change is the greatest challenge of our time and facade innovation presents an exciting way to take action. Over the next 12 years, we need to make big changes to reduce global emissions worldwide and within the built environment. Implementing innovative designs that balance embodied carbon reduction, energy performance, and life cycle is one way to make a difference. We are now testing the global warming potential of facade options by comparing pairings of cladding material and insulation that offer the same thermal performance. We’re looking at materials like polyiso, spray foam, and mineral wool, as well as ceramic tile, terra-cotta tile, and GFRC tile, which all vary greatly in terms of their life span, global warming potential, resource depletion, and acidification. Nicole Dosso Technical Director, Skidmore, Owings & Merrill Beyond materiality, our 35 Hudson Yards project is emblematic of a collective process between the architect, developer, fabricator, and supplier. New Hudson Facades and Franken-Schotter, who quarried, supplied, and fabricated the Jura limestone used in the facade, helped to drive improved energy performance as well as optimize the geometry, manufacturing, and material selection. The return of materiality to the facade is a departure from the monolithic slick glass facades that have dominated the image of the super tall tower for the last two decades. The approach of combining materials pays homage to the historic fabric of New York City facades, which predominantly fancied the use of stone, brick, and terra-cotta. Doriana Mandrelli Fuksas Partner, Studio Fuksas The quality of projects over the last 20 years has grown a lot, and nobody and nothing prevents us from thinking that the creation can continue to expand. I have a positive vision of the future, a future made up of large infrastructures: of museums, of innovative workplaces, of spaces dedicated to new technologies, of spaces where people can meet. The Shenzhen Airport has the skin of a honeycomb-shaped beehive. No one knows where it comes from, but clearly it is variable from every point of view and changes with every change of light, internal or external. Imagining a facade seems too simple, but complicated, too. I let it arrive as the last stage or last section, from the center to the outside. At the end of a path inside the building, of a cinematographic montage that leads to discover what you want to see, the facade arrives. Unexpected, scandalously irreverent. Pam Campbell Partner, COOKFOX Architects One of our projects, One South First in Williamsburg, Brooklyn, uses large-scale, 3-D-printed molds to create pre-cast facade panels. We designed several variations of panels to respond to specific solar orientations; beyond the facade’s shape, the finish and crisp edges were particularly important, creating an interplay of reflection and shadow on the building’s surface. Odile Decq Founder, Odile Decq Studio Glass is a material that can solve in one all the questions an architect faces when designing a facade today: lighting outside and inside, protection from too much solar heating, isolation from the cold, providing a multiplicity of aspects, colors, textures, inclusion, and more. I’ve always said: if steel was the material for building innovation at the end of the 19th century, glass is the material for the end of the 20th century. From the beginning of my career I have been fascinated by glass evolution and the way facades have been modified thanks to this fantastic material. Its various qualities, its treatment, and its plasticity are what I am searching for in terms of innovation today. My research today is oriented toward sensible facades that can be joyful and sensual at the same time. Elena Manferdini Founder, Atelier Manferdini In particular, our office proposes an alternative language for traditional facades, based on vibrant color schemes and geometric patterns, along with augmented reality applications, whose aim is to engage new subjectivities. Passivity is the dominant state of today’s subject, who, conditioned to consume images, confuses them with reality; but our work suggests that a new breed of reactionary subjectivities is now possible. These imaginative facades become a political space for nuance and personal participation. Facades, even when buildings are privately owned, are important for the city at large because they are inevitably the background of our public imagination. Any facade language strategy is by default political because it negotiates how the privacy of human interactions comes to terms with a surrounding social and cultural context. Andrea Love Principal and Director of Building Science, Payette I am working on a tool to look at the impact glazing has on summer comfort to complement the Glazing and Winter Comfort tool we developed a few years ago. We’re also doing life cycle assessment of the typical facade systems we use to understand their embodied environmental impact. We are continuing to explore new ways to leverage simulation tools to understand performance and drive design on several projects across our office. The thing I find most interesting about facades today is the increase in attention paid toward their role in building performance and occupant comfort. Whether it is a high-performance facade for passive survivability for resiliency or consideration of the embodied carbon impact, I find it exciting to see how we as an industry are embracing the important role that facades play. Jennifer Marchesani Director of Sales and Marketing, Shildan Group When Shildan introduced terra-cotta rainscreen to the United States market 20 years ago, the panels were red, small, and flat. Now our capabilities are amazing. We just completed the Sentry Insurance Building in Steven’s Point, Wisconsin, designed by Flad Architects, with the largest terra-cotta rainscreen panels in the world (10 feet long). We are seeing a trend toward complex terra-cotta shapes unitized in curtain walls on high-rise buildings. Custom 3-D shapes and curved terra-cotta elements are gracing more buildings, adding a complexity in production and systems, but resulting in unique, one-of-a-kind facades. Stacey Hooper Principal, NBBJ This is a time of revolutionary technology and digital fabrication, which is propelling imaginative industry partnerships to realize more complex, efficient, and high-performance building facades, built faster than ever before. This sea change will be pushed along by stricter codes, accountable system performance, and reduced market shares for curtain wall systems that don’t pursue meaningful change. Valerie L. Block Architectural Marketing Consultant, Kuraray America, Inc. I have seen more laminated glass used in facades over the past 20 years. There are several reasons for this, including building code requirements for impact protection of openings; blast and security requirements for exterior glazing in certain building types and locations; and a desire to incorporate minimally supported glass systems, where a concern for post-breakage glass retention has led to the specification of laminated glass. I have seen a growing concern over security. Architects working on K-12 and higher education projects are designing facades to resist intrusion, and in some cases, to provide ballistics resistance in the event of an active shooter. Tali Mejicovsky Associate, Facade Engineering and Building Physics, Arup I am most interested in designing for net zero energy and innovations that push for best performance. Some ideas include the use of FRP framing, thin glass in conventional assemblies, and designing for disassembly and recycling.
Posts tagged with "Odile Decq":
https://vimeo.com/270657493 The Time Space Existence exhibition presented by the European Cultural Center has returned to the Venice Biennale for the fourth time. For this iteration, the European Cultural Center worked with PLANE—SITE, the GAA Foundation and the ECC to launch a new series of videos spotlighting some of the pavilion’s most prominent participating architects. In the final video of the series, French architect Odile Decq frankly discusses her willingness to not be “nice,” the importance of taking a position, and being a woman in a still male-dominated field. In the brief video, Decq lays out her fascination with speed—and how that manifests in her architecture. “You can build a story with your movement, your displacement into the space,” she says of her design approach. This, according to Decq, lends a “spice” to her spaces. “I’m sure my buildings are spicy. They are not convenient for everybody.” Not just antagonistic for antagonism’s stake, she discusses how she encourages her students to take a position and the hope she has for younger generations to reinvent the world. After all, “architecture is still a fight.” This video is the last in a series that has featured the likes of Moshe Safdie, Tatiana Bilbao, and Fumihiko Maki. At Time Space Existence in Venice, Decq presented an installation and exhibition with an interactive centerpiece. The exhibition offered a sneak peek of her first large-scale residential development and first building in Barcelona, called Antares. She was also front and center in a women-led public action on May 25th at the Biennale that called for more gender equity in the field.
This morning at 11:00 AM, a large crowd of women (and male supporters) met just inside the entrance gates of the Biennale’s garden to protest a lack of recognition of “woman in architecture.” The fan waving crowd cheered as co-organizer Martha Thorne read a prepared statement asking for women to receive more recognition and support from the profession and the media. The event, according to Thorne, Odile Decq, and Toshiko Mori, three of the original organizers, started with this small group but has quickly developed into a network of “hundreds of supporters!” The only slip up was that the protest took place inside the gates of the Biennale and thus many young supporters were denied entrance to participate as they did not have a ticket on this media-only preview day. Still, over 100 people participated, including Francine Houben of Mecanoo, Farshid Moussavi, Jeanne Gang, and curators from The Met and MoMA. The organizers claim that architecture school students are now 60% female, so that today’s "Giardini" protest is only recognizing what will become a reality tomorrow. Below is the prepared statement that the group read: “MANIFESTO We as Voices of Women are building conversations and taking actions to raise awareness to combat pervasive prejudices and disrespectful behavior that appears to be systemic in our culture and discipline. We are united in denouncing discrimination, harassment and aggressions against any member of our community. We will not tolerate it. We will not stand silent. Women are not a minority in the world, but women are still a minority in the architecture field and we want it to better reflect better the world in which we live. The Venice Architecture Biennale 2018 FREESPACE is a crucial moment of awakening to promote equitable and respectful treatment of all members of the architectural community irrespective of gender, race, nationality, sexuality and religion. We will join hands with co-workers, students, clients, collaborators, and our male colleagues to create a new path forward toward equitable work and educational environments that promote respectful discourse and open exchange of ideas. Be a fan of voices of women. Make a vow to uphold fairness, transparency, and collaboration in Architecture NOW.”
The Architect’s Newspaper is already in Venice for the 16th Architecture Biennale all over "La Serenissima." We will have the most complete coverage of the Biennale of any news source, with five reporters on the ground (and water), checking out the pavilions and early events. We have, for example, just been told by French architect Odile Decq that there is a last minute “stand up for women in architecture planned for Friday at 11” in the Giardini and we will have more information on it as it develops. AN will be providing updates and impressions from the Biennale throughout the week.
The informal sexual use of spaces like bathrooms, parks, and parking lots, as well as their more explicit cousins like bathhouses and back rooms is celebrated at the Cruising Pavilion, presented at the 16th Venice Architecture Biennale. Riffing on the Biennale’s Freespace theme, the Cruising Pavilion “wishes to highlight the failure to consider Freespace as defined by this edition of the Venice Architecture Biennale, without questioning the hetero-normative production of space itself.” Curators Pierre-Alexandre Mateos, Rasmus Myrup, Octave Perrault and Charles Teyssou underscore how cruising exists both as architecture and against it. It’s an inherently spatial practice that uses—or perhaps more aptly—misuses space to create connections between people, primarily gay and bi men. Cruising, in turn, reformulates the purposes and meanings of the very space it happens in. In re-routing spatial logics through illicit interpersonal interaction, cruising is itself a practice part and parcel of the urban and architectural landscape. A form of para-architectural dissent, cruising mines desire from taboo bathroom moments and makes serene parks into sites of ecstatic pleasure, while rendering dungeons desirable and dark labyrinths secure. As the curators point out, considering real space in a post-Grindr age is even more critical, as sexuality, as well as its attendant concerns of gender, race, and class, plays out in the interstices between lived, material space and the space generated by and generative of the screen. Thus, interrogating non-normative spatial practices questions the project of architecture as such. The Cruising Pavilion radically embraces aberrant architectures and sexual spatialities by putting the hidden on display and inviting cruising into the Biennale. The Cruising Pavilion will feature contributions from artists and architects, including Alison Veit, Andreas Angelidakis, Andrés Jaque / Office for Political Innovation, Atelier Aziz Alqatami, Carlos Reyes, Diller Scofidio + Renfro, DYKE_ON, Etienne Descloux, Hannah Quinlan & Rosie Hastings, Henrik Olesen, Ian Wooldridge, Lili Reynaud Dewar, Monica Bonvicini, S H U Í (Jon Wang and Sean Roland), Studio Karhard, Studio Odile Decq, Özgür Kar, Pascal Cribier and Louis Benech, Pol Esteve and Marc Navarro, Prem Sahib, Tom Burr, and Trevor Yeung. It is produced in collaboration with Venetian non-profit Spazio Punch. Cruising Pavilion Spazio Punch, Giudecca 800/o, Venezia 30133, Italia May 25–July 1, 2018
Architect Odile Decq, director of Paris-based Studio Odile Decq, has won the 2016 Jane Drew Prize for "her outstanding contribution to the status of women in architecture." Past recipients of the award, administered by Architects' Journal, include Grafton Architects' Yvonne Farrell and Shelley McNamara (joint awardees, 2015), Kathryn Findlay (2014), Eva Jiřičná (2013), and Zaha Hadid (2012). Decq's recent work includes the Fangshan Tangshan National Geopark Museum in Nanjing, China (2015), the form of which was inspired by the slope of the site; and the Saint-Ange Residency in Seyssins, France (2015), winner of the Blueprint Award for best non-public project. Decq, whose multidisciplinary office boasts a portfolio ranging from plans for social housing to high-tech lighting fixtures, will deliver the opening keynote address at April's Facades+ NYC conference. Decq's interest in the field of high performance building envelopes dates back over 25 years, she explained. "Before the 1990s, facades were composed by architects as holes in a wall," said Decq. "Thanks to [developments in] glass technology and, specifically, the screwed and suspension systems developed by [Irish structural engineer] Peter Rice—who did the first suspended facade in Paris at the end of the 1980s—facades have become surfaces." Decq's first large commission, the Banque Popular de l'Ouest in Rennes (1990, in collaboration with with Peter Rice), features the first facade built using double-glazed suspended glass with external sun shades. Since then, she said, "I have been interested in the facade considered as a transparent surface to which layers outside and inside can be added." Some such additions occur inside the glazing itself, as at the MACRO, Contemporary Museum in Rome (2010); others consist of attached components, such as louvres, that create a sense of depth. "As [in] Alice in Wonderland, the way through the looking glass transforms our vision," concluded Decq. Meet Decq and other award-winning designers, fabricators, builders, and academics at Facades+ NYC. Learn more and register today on the conference website.
Benoit Cornette and Odile Decq’s 25-year-old Banque Populaire de l’Ouest (BPO) building is threatened by demolition after the owner was unable to sell it and subsequently received permission to tear it down. The building’s double glazed, suspended facade and its panoramic elevators were considered major technical innovations when it was built. The architectural heritage of the building is under threat for purely financial matters, but if the building can receive a pending classification, it would allow the architects one year to draw a plan to refurbish, repurpose, or otherwise save the building. A petition was launched on July 7th, and can be found here. According to the Save the BPO website,
It is time to act and react. The stake is to save a major building of the 20th century…BPO’s building brought international recognition to its authors with a Golden Lion at the Venice Biennale in 1996. Their innovative approach of mixing architecture, engineering and industry in search of a new spatiality was highly acclaimed at the time. Technically exceptional with its architectural experimentations, the BPO’s building embodies the “high tech” movement at the same level as the HSBC Tower in Hong Kong or the Lloyd’s Headquarters in London.Sign up for updates to learn more at the group's Facebook page or on Twitter.
Merging practicality—ingenuity, even—with aesthetics can yield impressive results. These light fixtures and accessories go beyond the basic function of illuminating a space in some very surprising ways. Pétale Luceplan This innovative, sound-absorbing suspension lamp combines technology and elegance, ultimately enhancing the true nature of the product: silence. Designed by architect Odile Decq, Pétale has an ethereal presence, thanks to its organic form and soft diffused light that filters through a white fabric cover. It contains a sound-absorbing panel that makes it perfect for large spaces that require high-quality acoustics. GATICA Tech Lighting Named for its uniquely flexible features (GATICA = General And Task Illumination, Controls, Adjustability), this modular LED lighting system combines aimable general illumination, wall wash, and aimable spot lighting all in a highly configurable, ultra-thin profile. GATICA's highly configurable components, quiet beauty, and light performance make it ideal for retail, grocery, office, healthcare, hospitality, museum, library, and gallery applications. It can serve as the sole or majority light source throughout spaces requiring general illumination, wall-washing, task illumination, or all three. Vesuvius ILEX In this elegant, unusual ceiling fixture, a polished, spun-aluminum shade surrounds a hammered metal baffle that is finished in Architectural Bronze or Polished Nickel. The inside of the baffle is brushed brass, which imparts a warm glow both upwards and downwards. Designed by Kevin Walz. Hubbardton Forge Line, Adorne Collection Legrand These hand-crafted, heavily textured metal wall plates coordinate with select Hubbardton Forge fixtures. In six finishes: Black, Natural Iron, Mahogany, Dark Smoke, Burnished Steel, and Bronze. SnapRays Guidelight SnapPower No batteries or hardwiring required: Patented metal prongs on the back of the faceplate make contact with the screws on the outlet, and draw power to the unit’s integral, sensor-operated, LED nightlights. Wireflow Vibia The electrical wires of this updated, abstracted chandelier can be adjusted to trace geometries in two and three dimensions, allowing a great variety of sizes and forms to be created. Designed by Arik Levy.
Last weekend's Monterey Design Conference had many special moments--beyond those spent walking the spectacular grounds of the Asilomar center on the Pacific ocean. The conference, which is essentially the bi-annual meeting of the California AIA, is trying to re-brand itself the "MDC" in hopes of encouraging the general public to attend. But the conference has been M.C.ed for the past dozen years by Robert Ivy, Chief Executive Officer of the AIA and once again he did a brilliant job (with help from Larry Scarpa) of keeping the event moving along between wine tastings, a small trade show and attendees' desire to escape the darkened conference hall for a walk on the beach. Ivy began the weekend with a bit of AIA news from the AIA Octagon by announcing that (after 50 years of trying) the AIA is reducing its board of directors from 52 down to a more manageable 11-15 members. It has been nearly impossible for a group of this size to meet regularly and a smaller board should be more nimble and allow a reconstructed board "council" to act as working groups to research AIA issues. Ivy also reported that he had just flown in from New York and attended the Clinton Global Initiative where he began a relationship with the organization that will focus on how design can create "a healthier environment." But the real meat of this conference has always been design--celebrating its masters, introducing young firms, and honoring its elders. The first session began with a talk by Fayetteville-based Marlon Blackwell who has spent several decades working in a state he calls "home of Bill and a billion chickens." Claiming he had just "cut his mullet" for the event Blackwell went on to show his well-crafted regionalist projects that he says are placed on a site between the ideal (think Fay Jones' Throwncrown Chapel) and the improvised local jeryrigged landscape. He riffed on his well known TV dish (purchased for two cases of beer) turned dome for his St Nicolas Church project. Next up was emerging San Francisco practice Brian Price who showed multiple digitally rendered projects but thus far his work is mostly unbuilt. He is recently relocated from the Ivy league hothouse of the East Coast and this will hopefully allow him to build and craft a real project. The evening finished with Anne Fougeron showing her elegant residential projects, including a dramatic cantilevered house hanging over a steep Big Sur cliff. The second day began (after 6am "restorative" yoga on the beach) with Thomas Phifer who presented his beautifully detailed institutional and residential projects up and down the East Coast and in Houston. He began his presentation "Outside In: Architecture in the Landscape" with Dan Graham and Michael Heizer images and it was fun to watch this East Coast architect lecture the West Coast on light, reflectivity, and nature while they ogled his hard-edged glass walls. Ivy introduced the young San Francisco practice Future Cities Lab who like their Los Angeles cohorts Dwayne Oyler and Jenny Wu showed their formal research into media walls, networking ("communicative surfaces"), distribution, and latticed space frames. These young designers are like, many of their generation, more interested in formal research and installations than actual buildings or even social engagement. Further, the work of these young firms is pointedly performative in how it conceives of its practice and presents itself, with the Oyler Wu Collaborative even showing a time lapse video of the construction of their recent Sci Arc graduation pavilion. But the smaller Asilomar break out sessions presented several young practitioners who do wed design and social engagement in a compelling new formulations like computational designer German Aparicio founder of informedCITIES talked about his research on real-time data, systems and networks and how maps, GIS, data visualization, urban sensing can be put at the disposal of design projects. These Pecha Kucha-style sessions also included a convincing talk "Mighty Hand: Hand Drawing Within the BIM Workflow" by Jess Field who went to describe the benefits of hand drawing and what digital renderings leave out like a reference to scale and the human body. The AIA then presented Jack MacAllister with a lifetime Achievement award and he sat in a large chair on the stage and told folksy tales of sixty years of practice. Later that day Odile Decq and Kengo Kuma presented their work which are both highly inventive but could not have been more unlike in built form and materials. Decq showed her black and red designs for the MACRO in Rome, the Garnier Opera restaurant and a sleek yacht design for an Italian client. Kumo eschews contemporary materials for materials (built by local artisans when possible) like wood, adobe, and ceramic tiles that he claims strive for "building that harmonizes with the climate and environment of the place." Both designers had their adherents in the audience as Kuma's traditional materials certainly has affinities with Bar Region traditions and Decq's pure formalism, which resonates with contemporary Los Angels designers. Different groups gave each standings ovations after their presentations. The presentations ended with a warm tribute to Thom Mayne who seemed to be concerned that this awards might harm his "bad boy image," but was described as a warm, supportive, and helpful colleague to younger practices in California.
The California AIA's biennial Monterey Design Conference is on the next two days—September 27th and 28th—at Asilomar, the glorious Julia Morgan– and John Carl Warnecke–designed center on the Pacific Ocean in Pacific Grove. The conference will feature lectures by Thom Mayne, Marlon Blackwell, Thomas Phifer, Kengo Kuma, and AN board member Odile Decq. But first up this morning was Greg Otto from Buro Happold who presented various Happold projects that were created using a multi-disciplinary approach and discussed design and legal issues around responsibility and how these "stress traditional design assumptions." Otto also discussed his ongoing New York projects with Jeff Koons who wants to make large steel structures look "like marshmallows." Next a Pecha Kucha–type session on Technology Serving Design where German Aparicio, CCA and UCLA professor and AECOM architect, presented his "informedCITIES" digital data research on urbanism and how it can be applied to design. Aparicio has done fascinating urban metrics research on pre- and post-earthquake Christchurch, New Zealand. It's great to be at an architecture conference that does not just discuss local or regional issues but brings in the world's most important designers to present work of high quality and offers a 6:00a.m. "restorative wake-up Yoga" session sponsored by Academy for Emerging Professionals.
If design is all about the details, Alessi has developed a successful formula for making thoughtful, fresh, and functional objects that delight design lovers worldwide. A new roster of architects and industrial designers have contributed sleek new accessories and decorative wares for the Autumn/Winter 2013 collection across the Alessi, Officina Alessi, and A di Alessi collections. AN got a first look at Toyo Ito's newest tablewares, Mario Trimarchi's jewelry, and much more. Alice by Odile Decq This year marks the French architect and designer's first collaboration with Alessi Officina. Her angular serving tray plays on tradition with a planar twist from corner to corner that appears to originate at varying perspectives. It's available in black (shown) or mirror-polished stainless steel. Birillo by Piero Lissoni Alessi's first collection for the bathroom has been enhanced with a gray color offering and five new items: a tissue holder, toilet roll holder, liquid soap dispenser, bathroom container with a lid, and a soap holder for the shower and bath. The elliptical form features a concealed bottom for a weightless appearance. KU by Toyo Ito Pritzker Prize-winning architect Toyo Ito first designed his KU tableware collection in 2006 to suit the Japanese portion palette, and has recently modified the series for the Western market. The 2013 update features a larger soup dish and oval serving tray that maintains accord with the the full set, from serving dishes to coffee cups. Vieni via con me and Maestrale by Mario Trimarchi Trimarchi has broadened his La Stanza dello Scirocco collection of stainless steel decorative objects and accessories with two new pieces of jewelry. The ring and cuff bracelet's design emulates cards fluttering in the wind and can be adjusted for custom sizing. MamiXL by Stefano Giovannono Originally released in 2003, Giovannono's collection of glassware and stemware has been updated to today's serving size standards, inspired by the dimensions of current wine tasting glasses. Vessels for several varietals of wine, water glasses, decanters, and tumblers are all made from crystalline glass.
Odile Speaks. French architect Odile Decq, designer of the recently completed Macro Museum in Rome, will be delivering a lecture at Hunter College in New York on Friday, March 4. The event takes place on the second floor of the MFA building (450 West 41st Street) at 6:00 PM. Walk-way-up. At 45 stories, a skyscraper in Caracas, Venezuela could be the world's tallest walk-up. The New York Times has the story of the stalled tower that's now home to some 2,500 squatters. While the building lacks amenities like an elevator, proper bathrooms, or guardrails, it's said to offer a commanding view of the surrounding city. Toxic Town. Forbes ranks the ten most toxic cities in America and Philadelphia rises up as champion - toxic champion. Based on air and water quality, Superfund sites, and data from the EPA, the list generalizes that the west coast suffers from morbid air quality while New York, 4th worst, could improve its water quality. Pei Okay. The Wall Street Journal reviews I.M. Pei's Manhattan Centurion apartment building and finds that it "embodies an unfussy, functional, and elegant ethos that elevates it well above the schlocky residential construction now omnipresent in New York City." Pei collaborated with his son on the project, which might not be their last.