Posts tagged with "SOM":

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SOM rethinks city hall design with a new energy-efficient skin

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SOM has designed a master plan for downtown Long Beach, California, which involves new mixed-use developments across a 22-acre area. The Long Beach City Hall and Port Headquarters complex, comprising two new buildinds, is the first outcome of this planning effort. The project, led by SOM in collaboration with Syska Hennessy Group, Clark Construction Group, Plenary Group, and Johnson Controls International, is part of the largest public-private development on the West Coast, attracting attention and visits from municipalities across the country. The project team was able to reduce risk to the public side through a public-private partnership with a facilities operation maintenance (P3FOM) delivery method.
 
  • Facade Manufacturer Benson Industries
  • Architects SOM
  • Facade Installer Benson Industries; Clark Construction Group, LLC (general contractor)
  • Facade Consultants Benson/SOM/Clark (facade development); Nabih Youssef Associates (structural analysis)
  • Location Long Beach, CA
  • Date of Completion 2019 (projected)
  • System curtain wall
  • Products unitized facade assembled by Benson from insulated glass (Viracon), extruded aluminum, formed aluminum (City Hall building), and shadow boxes composed of extruded aluminum slats with insulating glass at the face (Port building)
The project will replace Long Beach’s old city hall while adding new civic and infrastructure amenities such as parking, landscaping, a library, and marketplace. The two new buildings are identical in massing and proportion, utilizing long and narrow floor plates with split cores to offer better connections between interior and exterior environments. Syska Hennessy Group, the MEP and sustainable design consultant on the project, said the building's operating costs and carbon footprint were designed to be 50 percent lower than those of a standard office building. This was achieved through a collaborative design process involving preliminary energy modeling, solar shading studies, and building system schematic sketches to help resolve architectural and programmatic decisions. The primary feature of the project is an underfloor air conditioning system integrated into the floor plate structure. The design approach allows for taller ceiling heights and yields improved daylighting and aesthetics by exposing the ceiling finishes. Syska said the project is targeting LEED Gold certification, with all buildings exceeding ASHRAE 90.1-2007 by at least 22 percent before renewables are taken into account, and 34 percent after. Exterior curtain walls are composed of insulated glass manufactured by Viracon. The glazing is integrated into extruded aluminum framing fabricated and painted in Korea. The components were sent to Benson Industries' assembly shop located in Tijuana, Mexico, where they were assembled into unitized systems. This approach minimized costly labor on the job site. Subtle detailing differences emerged on the building envelope, which is composed of unitized facades fabricated and installed by Benson. At City Hall, the facade features solid white panels made from formed aluminum, while units with shadow boxes at the Port building are made from extruded aluminum slats with insulating glass at the face. These “shadow box” assemblies were carefully designed to be contextual and were inspired by colors and textures taken from shipping containers at the nearby Long Beach Port. The project, currently under construction, is scheduled for a late-2019 opening.
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SOM uses interdisciplinary collaboration to design innovative facade systems

On September 21, Facades+ is coming to Chicago for the first time in three years. The conference features moderators and speakers of leading firms from across the country. Skidmore, Owings & Merril—the architecture and engineering firm that has called Chicago home for over 80 years—will have a particularly strong presence at the upcoming conference. To learn more about what Chicago’s largest firm is up to and to investigate larger industry trends, AN sat down with SOM’s Dan O’Riley, associate director, and Lucas Tryggestad, technical director. The Architect’s Newspaper: For over a century, Chicago has been at the forefront of architecture and engineering. What do you find most interesting about facade and structural innovation in Chicago today? Dan O’Riley: What’s most interesting about innovation in Chicago is that, aside from all the advancements the industry has made in materials, design, and construction over the years, the city continues to innovate based on the same philosophy of discovery and collaboration that has always put Chicago at the forefront of architecture and engineering. Chicago is the city that “makes no little plans,” and while nothing is built without reference to the past, the city is constantly looking towards the future. For example, 400 Lake Shore Drive, currently under development, blends contemporary materials, such as glass, with traditional materials, such as terra-cotta, matching historical vernacular, but creating something totally new. We’re also seeing new designs and concepts that go beyond the standard limitations of glass, which are applied to facades at larger scales, such as the Apple Store in the shadow of the Tribune Tower. And projects such as the IIT Innovation Center are experimenting with new facade materials, such as ethylene tetrafluoroethylene (ETFE) foil cushions. Together these types of innovations continue to keep Chicago at the forefront. Currently, what projects are you working on that demonstrate SOM’s longstanding synergy of architecture and engineering? Lucas Tryggestad: For 80 years, SOM has operated at the forefront of design, engineering, and urban planning. While each project is unique, collectively the firm’s projects represent the integration of these disciplines. Several of our current and recent projects represent this synergy through the facade expressions, the space layout, and how buildings interact with their contexts. In North Sydney, Australia, 100 Mount Street has an innovative, cross-braced exoskeleton structure and soaring glass curtain wall. It has an offset core and two rows of columns that allow for a 6-meter cantilever running the whole length of the facade. In Salt Lake City’s financial district, our 111 Main project is a Class A office tower anchoring a larger urban redevelopment in the area. To ensure that the project would not compromise the functionality of an existing theater at its base, the entire structure is suspended from a steel hat truss on top of the building, allowing the theater to slide under the tower’s south side. These synergies have always been integral to SOM’s buildings throughout the firm’s history, visible here in Chicago from the Inland Steel Building, the Willis Tower (formerly Sears Tower) and 875 North Michigan Avenue (formerly John Hancock Center), to projects currently underway, such as “The Porch” on 330 North Green Street. How can AEC firms confront the challenges and opportunities presented by sustainable design in facade systems, and how can fenestration and enclosure innovation to boost performance? DO: Innovations in sustainable design for facades and facade systems must begin from a holistic point of view. The initial stages of a project’s design should account for and integrate different building systems and programs within the building, drawing input and expertise from different design and engineering disciplines to create better and more informed high-performance solutions. The idea of high-performance design at SOM is an interdisciplinary collaboration integral to the total set of design activities that develop sustainable environments responsive to their environmental context and recognizing the impact of the built environment on the planet’s collective resources. By prioritizing collaboration, AEC firms have the opportunity to design and take advantage of integrated mechanical systems, active facades, and energy-efficient strategies for solar control, thermal comfort, glare, and other factors affection a project’s overall sustainable performance. For example, the Roche Diagnostics Learning and Development Center in Indianapolis, designed by SOM, has a building enclosure that utilizes high-performance, low-e coated, argon-filled insulated glazing units and a window-to-wall ratio of less than 60 percent. The east, west, and southern facades also incorporate computer-controlled exterior Venetian blinds to protect and regulate the building envelope. Interdisciplinary collaboration allowed the project team to respond to the needs of the client and the context of the project itself to achieve a very strict set of high-performance goals, with great success. SOM is increasingly taking on transportation-related projects; Moynihan Train Hall, Chhatrapati Shivaji International Airport Terminal 2, Denver Union Station, to name a few. What lessons from these projects are translatable to tower and super tall construction? LT: SOM is active across a wide range of practices and research areas, including transportation, aviation, healthcare, urban planning, and interior design. While each project is distinct, the lessons learned from what we’re doing for an airport terminal, for example, inform what we’re doing for a rail and transit hub. This is the value of working within an integrated practice, where ideas and strategies are continually evolving to create buildings that are distinctive and synthesize programmatic function, structural rationale, and environmental sustainability.
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Facades+ Chicago will explore structural and facade systems at dizzying heights

On September 21, Facades+ is coming to Chicago for the first time since 2015. At the conference, speakers from leading architecture, engineering, and facade consultant firms will discuss their bodies of work and lead in-depth workshops. Workshops will cover modular facade design, the challenges and triumphs of large-scale work in Chicago, and how to control the quality, quantity, and directionality of light through facade design.

Dan O’Riley, associate director at Skidmore, Owings & Merrill (SOM), and Lucas Tryggestad, technical director at SOM, are the conference co-chairs.

Located on the southwest corner of Lake Michigan, Chicago is the metropolis of the Great Lakes and has the architectural output to prove it. Since the second half of the 19th century, the city has been at the forefront of design and engineering, pioneering both steel-frame construction and the skyscraper.

For over 80 years, SOM has called the city home. Over the course of its nearly century-long operation, SOM has designed and engineered thousands of projects in over 50 countries. These include the world’s tallest tower, Dubai’s approximately half-mile tall Burj Khalifa, the ongoing conversion of the 1913 Beaux Arts James A. Farley Post Office into the Moynihan Train Hall, and the forcefully engineered Hancock Tower.

Founded in 1979, Chicago’s Kreuck + Sexton has stamped its footprint across the country. Institutional projects such as the Grogan | Dove FBI Building and the Spertus Institute feature faceted and folded glass facades that are coordinated with the functions of interior spaces.

Outside of the realm of supertall and infrastructural projects, local firms such as Landon Bone Baker are demonstrating the creative and sustainable possibilities of affordable and mixed-income housing across Chicagoland. Nearby projects Terra 459, Rosa Parks Apartments, and The Jackson serve as templates that can be emulated across the country.

The rise of Chicago’s broad portfolio of stone and glass-clad skyscrapers could not have occurred without the great density of engineering and facade systems firms located in the region. Ventana and other Chicago firms continue to push the envelope of facade and structural systems with projects such as the Kellogg School of Management, a collaboration with Toronto's KPMB Architects, which features an undulating 160,000 square-foot curtainwall.

Further information may be found here.

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Kansas City International Airport tones down design in new renderings

Progress on the $1.3-billion Kansas City International Airport (KCI) is moving along after delays and a brief developer kerfuffle in December that saw AECOM attempt to win the project back from the Maryland-based Edgemoor Infrastructure & Real Estate/SOM team. After soliciting community feedback, the SOM-led design team has released another round of renderings and revealed a more subdued version of the curvy terminal buildings seen previously. Voters initially approved the $1 billion replacement of the aging KCI last November. The clover-shaped airport originally opened in 1972, and its three drive-up, horseshoe-shaped terminals were rendered difficult to navigate following the release of new airport security requirements the same year. SOM’s H-shaped airport will consolidate all three terminals into a single building while keeping the curbside access that Missourians are used to. The original renderings, revealed after Edgemoor and SOM had secured the project, depicted a light, glassy building with a rippling roof and sail-like fins. In the updated designs, the roof has been smoothed out and flattened, a two-story fountain originally located in the departure and arrivals area has been removed, and a 4,500-square-foot lounge for frequent fliers has been added. Instead of the indoor fountain in the check-in area, which SOM removed to speed up arrivals, an outdoor water feature has been proposed for the area in front of the parking garage. A centralized “cul-de-sac” with retail and dining options along with a round performance space has also been replaced with a more rectangular "town square," which will feature local businesses and a teardrop-shaped performing area. The number of bathrooms will more than double, from the current 63 to 130, and SOM has used community feedback to design wide, accessible bathrooms for those traveling with baggage. Seven more community meetings have been scheduled for this September as Edgemoor continues to solicit stakeholder feedback. Demolition of KCI’s Terminal A is currently on hold while the Federal Aviation Administration conducts its environmental assessment, which should be complete sometime in September or October. The airport has already pushed its opening back from November 2021 to fall 2022 as the number of gates has risen from 35 to 39­­—the KCI currently has 31 gates in operation. While no budget has officially been set yet, the cost estimate has risen from $1 billion to $1.3–$1.4 billion, with the airlines pledging to pay for any additional costs.
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San Antonio’s architecture has a bright future illuminated by a rich heritage

When it comes to notable architecture in Texas, it would seem strange to place San Antonio on par with Houston or Dallas. As the second-largest city in the state, San Antonio seems to only mimic the kind of architectural largesse seen in those cities. There are plenty of jewel-like late modern skyscrapers and austere civic buildings by Skidmore, Owings and Merrill, Caudill Rowlett Scott, and Marmon Mok in the city, but these are not the kinds of projects one would mention in the same breath as Houston landmarks like Johnson/Burgee’s Pennzoil Place and Williams Tower, Renzo Piano’s sublime Menil Collection, or Fort Worth's iconic Kimbell Art Museum by Louis Kahn. A selective itinerary of San Antonio’s past and future architectural projects reveals a steady commitment to buildings with bold, expressive forms that reference the city’s unique environment, history, and culture. Alamo City warmed up to these compelling architectural additions as it expanded during the late 1940s and early ’50s, and became a home to energy and utility companies during the 1970s and ’80s. Funded by philanthropic organizations and influxes of oil cash, many of these buildings are now hidden by giant, swooping highway overpasses, corporate plazas, and other developer-driven projects. Despite the earlier innovative and controversial projects, San Antonio remains overlooked. This will soon change. Newly appointed mayor Ronald Nirenberg has re-energized discussions about creating new housing, battling gentrification, and committing to more public art. This will certainly place a spotlight on San Antonio’s rich architectural offerings while reminding us of how these and other past projects have embodied this city’s distinctive topography, Latino heritage, and dry, arid environment. Emilio Ambasz’s Lucile Halsell Conservatory, completed in 1988 at the San Antonio Botanical Gardens, is a good starting point. Located on the city’s northeast side, Ambasz’s scheme took advantage of the sunken site with a series of prismlike canopies that appear to rise out of the bermed earth like upturned shards of glass. Each canopy creates its own kind of climate and features particular plant ecologies—architecture designed, as Paul Goldberger observed in 1987, for the interaction between plants and humans. The project is notable for its combination of building, landscape, and infrastructure into a seamless whole. The Lucile Halsell Conservatory accommodated some very particular environmental and topographical conditions, and did so with a formal and technological expressiveness unlike anything that had been built in San Antonio. Mexican architect Ricardo Legorreta’s San Antonio Central Library, completed in 1995, continues in this vein. Here, cubic volumes are stacked at various angles, creating a series of triangular-shaped courtyards intended to be outdoor reading rooms. Legorreta’s debt to Mexican architect Luis Barragán’s minimalist polychromy is clear. Working with the painter Mathias Goéritz, Barragán created spaces framed by walls and surfaces doused in highly saturated reds, blues, yellows, oranges, magentas, and pinks. At his Central Library, Legorreta appears to invert Barragán with a simple, playful interplay of volumes that seem to be wrought from its own color palette as well. The reddish-brown colored cubes appear gutted in some places, revealing inner planes of yellow, blue, and purple. When viewed from the air, the Central Library appears otherworldly, framing circular plazas made from grass and limestone and located on a triangular-shaped site near the geographical center of the city, as if something from another time had arrived here. That a Mexican architect was chosen for this project is important. As the seventh-largest city in the United States, San Antonio has one of the biggest Spanish-speaking populations. Over 62 percent of its residents are of Latino origin. The appeal of Legorreta’s Central Library stemmed as much from the need for more public libraries as it did from the desire to reflect the city’s heritage. Though this was the first building in San Antonio designed specifically to reflect the city’s Mexican-American heritage, there are older buildings that expressed the cultural richness so important to the city. The Alamo and the four Spanish Missions (recently designated as UNESCO World Heritage Sites) all combine Spanish and Catholic influences while referring to the rituals and structures of indigenous peoples. This is to say that San Antonio’s architecture continues to find a way to embody its venerable cultural geography. It also incorporates its distinct environmental geography. San Antonio is a city hewn from mesquite-dappled hills, limestone quarries, and deep-set aquifers. Lake|Flato continues to be the standard-bearer among the city’s firms for a kind of tectonic and environmental sensitivity that is immediately recognizable for its ingenious references to these conditions. Imagine a version of John Lautner’s spacious geometric forms where large cornices made from corrugated metal peer over meticulous compositions of glass, limestone, slats, and brise-soleil made from local woods, all culminating in views that privilege the rolling, arid mesquite and persimmon landscapes of the Texas Hill Country. This would not do justice to Lake|Flato’s work, but perhaps it is as close as we can get to a kind of South Texas regionalism. Yet some of Lake|Flato’s current work points to something altogether different. Their recently completed pavilion at Confluence Park designed in collaboration with Matsys connects the joining of the San Antonio River and San Pedro Creek, to nearby Mission Concepción, an 18th-century basilica. This is a highly-charged site in predominantly Spanish-speaking South San Antonio. The most visually arresting parts of Lake|Flato’s project are the concrete “petals” that reference the local flora while reminding the most architecturally astute observer of Spanish-born Mexican engineer Felix Candela’s sweeping hyperboloid structures, like Los Manantiales Restaurant (1958) in Mexico City’s Xochimilco Park, or the Chapel Lomas de Cuernavaca (also 1958) in Cuernavaca. Confluence Park is also part of the larger San Pedro Creek Cultural Park. This scheme is projected to transform a once-neglected 2.2-mile-long drainage spur into a cultural attraction with water features, public art, and areas dedicated to the preservation of local grasses and wildlife. In a nod to its aspirations, lead architect Henry R. Muñoz and others have embraced this project’s more common nickname—the “Latino High Line”—which may say more about Diller Scofidio + Renfro/Field Operation’s celebrated scheme than the actual goal of the project, which is to create a version of the Riverwalk devoid of its tourist traffic while celebrating Latino heritage. Urban designers are finding new ways to move San Antonio forward while referring to curious artifacts from the history of American cities. Architect Antonio Petrov, who teaches at the University of Texas at San Antonio and is the founder of Urban Future Lab, is one of the most outspoken voices when it comes to redevelopment in the city. He is a proponent of bringing back skyrides, which were already used during HemisFair ’68 as a means of connecting the city’s downtown with San Antonio International Airport. Petrov’s proposal, though evocative of pie-in-the-sky urban transportation schemes, is to be taken seriously. Similar proposals were actually in use at the 1932 Century of Progress Exhibition in Chicago as well as in Disneyland and Disney World (which were, in a sense, attempts to envision cities of the future.) Other schemes, though funded by corporate dollars and serious placemaking advocacy firms, are barely more pragmatic in their approach. A case in point is the proposed Alamo Plaza Redevelopment. Philadelphia-based Preservation Design Partnership authored one of the first master plans, a scheme that caused controversy when it called for relocating many of the businesses surrounding the Alamo and converting them to privately run cultural attractions. Current versions of the plan have done little to improve on the previous proposal. For example, the recent Alamo Comprehensive Interpretive Plan—spearheaded by St. Louis–based “placemaking” firm Peckham Guyton Albers & Viets; the heritage consulting firm Cultural Innovations; and landscape architects Reed Hilderbrand—still hinges on the creation of a pedestrian-friendly “Alamo District” designed to turn this historically charged site into an open-air museum. A previous scheme took this idea a step further by encircling the Alamo with a glass wall, as if preserving this architectural artifact in a kind of amber. There are plenty of other projects that are reenergizing the architectural scene in San Antonio. The city is in a bit of a gut-rehab frenzy, as landmarks like the Pearl and Lone Star Breweries have been renovated as pricey hotels and higher-end restaurants, all with the end goal of molding San Antonio into a destination for design-savvy millennials with money to burn, in hopes they will ditch an Airbnb in the picturesque King William District in favor of the Hotel Emma’s posh industrial-chic. It is in this milieu that Adjaye Associates’ Ruby City arrives as one of the most exciting projects to break ground in the Alamo City. This 14,000-square-foot gallery and contemporary arts center—scheduled to open later this year near the city’s burgeoning arts district—appears as a strange hybrid, part OMA Casa da Musica, part Legorreta Central Library. Adjaye’s building appears as a literal jewel, a faceted brick-red form whose speckled, punctured surfaces make it seem fleeting and otherworldly. But it is anything but that, for this building, which sits precariously on the edge of the one-acre CHRISpark in downtown San Antonio, will anchor the San Pedro Creek redevelopment scheme, and provide the Linda Pace Foundation’s extensive collection of modern and contemporary art with a bold, exciting home. Adjaye is still earning accolades for his groundbreaking National Museum of African American History and Culture in Washington, D.C., and with Ruby City soon to be completed, this will be the most significant architectural gesture for San Antonio—one that will hopefully inspire an influx of more commissions and projects of a similar caliber. How should we look at San Antonio’s architectural legacies and gestures? It is tempting to stack them up against those in Houston or Dallas, but in doing so, we would risk ignoring how one of the fastest-growing cities in the United States is busy generating its own architectural identity. Don’t call it haphazard, however. The pace of architectural developments in San Antonio may appear slow, but like the city, its architecture is humming busily from what once was an undetectable purr to something greater. This sleepy South Texas city is anything but, and its architecture will demonstrate how this is the case.
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A renovated Los Feliz bungalow brings the outside in with folding doors

Carlos Madrid III, a senior designer at the Los Angeles branch of Skidmore, Owings & Merrill (SOM), has been lovingly renovating his white plaster bungalow-style home for the past two years. Originally built in 1912, the residence was the living quarters for migrant farm workers. With just 800 square feet, Madrid’s main objective was to make the home more usable and comfortable. “I wanted to capitalize on the Southern California lifestyle,” he said. To accomplish this, Madrid installed LaCantina’s aluminum 3-panel bi-fold doors. The doors flexibly swing inside and outside in multiple open and closed positions—anywhere along the spectrum from wide open to completely closed. The system is equipped with a concealed multi-sealed lock, giving the architect freedom to fully open their home and the security to thoroughly close it. In effect, Madrid made the space more usable by opening up the living areas to create the illusion of increased square footage. “This window system blurs the lines between the inside and out, while increasing the perceived size of the living and dining areas,” said Madrid. Location Los Angeles Architect Carlos Madrid III Contractor Steven Fiske Wall System Aluminum Bi-fold System by LaCantina
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Lincoln Yards could bring an “instant neighborhood” to the Chicago River

Developer Sterling Bay released additional details and renderings by Skidmore, Owings & Merrill for the Lincoln Yards mega-development during a packed public meeting in Chicago’s 2nd Ward on July 18. A master plan of the site was also introduced, as well as some eyebrow-raising figures: 5,000 residential units, 500 hotel rooms, 23,000 on-site jobs, 13 acres of public space, 1 mile of new riverwalk, and a 1,300 feet extension to the 606, as well as the potential for the construction of multiple skyscrapers reaching up to 800 feet, or approximately 70 stories. The project currently encompasses 52 acres of the industrial corridor between Lincoln Park and Wicker Park, the result of three years of calculated land purchases by Sterling Bay along the Chicago River and within the area of the north side bordered by North Avenue, Elston Avenue, Webster Avenue, and Clybourn Avenue. If implemented as proposed the project would have a prodigious effect on the north branch of the Chicago River and multiple north side communities, businesses, and pieces of infrastructure. It would be an instant neighborhood created by a single developer. The development is presented with two distinct spatial components: The residential and commercial structures, as well as the proposed skyscrapers, will be constructed north of the bend in the Chicago River, while the south side will house the entertainment venues and recreational space. While the north side is now vacant land, cleared of the former A. Finkl & Sons steel plant last year, the south still has existing buildings with an enclave of small businesses immediately to the west, a combination of mixed-use manufacturing buildings, retail, restaurants, and bars, including Chicago’s iconic Hideout music venue. Despite the long transition to contemporary development, old-line manufacturing is still prevalent within and along Lincoln Yard’s proposed borders, and the General Iron Industries scrapyard is located prominently across the river. While General Iron Industries plans to move operations to the southeast side in 2020, some local businesses have made it clear that they intend to stay as the development of the project begins, as the Chicago Tribune reported. Sterling Bay has pledged to conduct traffic studies and congestion mitigation at area intersections but is also proposing to remove several small streets and easements in favor of a new diagonal thoroughfare, Dominick Street, that would cut across the center of the development. However, the development's approach of creating Loop-style density from scratch has yet to be tested, and with congestion already a nuisance at the existing site, the addition of 5,000 residential units, hundreds of hotel rooms, and a 20,000-seat soccer stadium will likely prove problematic for those living in surrounding communities that are defined primarily by two– and three–story vernacular structures and are the result of an ever-evolving architectural and cultural narrative. Sterling Bay has pledged to provide affordable housing and retain some of the historic industrial features of the area, such as truss bridges, but has not articulated how that will occur outside of the development following applicable laws. Sterling Bay intends to pursue local and federal funds to make infrastructure improvements, including changes to roadways and mobility systems. The federal assistance would require that the project complies with all local, state, and federal environmental and historic preservation laws before ground is broken, a process that will ultimately resemble the review required to construct the Obama Presidential Center in South Shore. The developer has also yet to provide additional detail on the proposed 23,000 permanent jobs, or whether the project area will increase as additional land becomes available. The proposal is expected to be filed to city council as soon as the end of July.
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SOM’s Engineering + Art + Architecture exhibition opens at the MAK Center in L.A. this weekend

The widely-traveled exhibition titled Poetic Structure: Art + Engineering + Architecture showcasing the engineering and design legacy of Skidmore, Owings, & Merrill (SOM) will be on display at the MAK Center for Art and Architecture in Los Angeles starting this weekend. The sprawling exhibition will bring a large 12-foot-by-27-foot pavilion to the grounds of the Schindler House, presenting a doubly curved kinematic structure stiffened with wood panels and metal hinges is inspired by the mathematical relationships between force and motion. The hovering pavilion is suspended by aluminum trusses and is braced with steel wires, an arrangement that can yield variously-sized configurations for the traveling show. The pavilion will also house more than 30 structural models of SOM’s grandest works. The models—built at 1-to-500 scale—compare the various structural approaches taken for projects like the John Hancock Center in Chicago and the Burj Khalifa tower in Dubai in an effort to demonstrate the similarities that exist between artistic and technical designs, and how SOM “embraces and integrates engineering into works of public art.” The exhibition will also feature a mosaic collage of hand-drawn sketches from SOM’s leadership team showcasing the firm’s ever-evolving design process. Included too will be an art installation and digital projections presenting visuals and work from globally-acclaimed artists and architects who have partnered with SOM to design large-scale public installations, according to a press release for the exhibition. Works represented include Janet Echelman’s Dream Catcher, James Carpenter’s Hope Tower, Iñigo Manglano-Ovalle’s Weatherfield, Jaume Plensa’s World Voices, and additional work by Pablo Picasso and Peter Zumthor. The exhibition will be supplemented by public programs, including panel discussions and off-site educational events. Poetic Structure is scheduled to run through September 2, 2018.
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AN tracks the largest projects in Saudi Arabia

This story originally appeared in our June 2018 issue. Read the first part of our Saudi Arabia feature here. With so many large-scale projects going up and wholly new urban areas in development, it can be hard to keep track of the myriad established architecture offices working across Saudi Arabia. Here is a quick guide to some of the biggest, tallest, and most cutting-edge projects in the works across the country. King Abdulaziz Center for World Culture Snøhetta Opening 2018 Snøhetta’s King Abdulaziz Center for World Culture is the by-product of a design competition led by the Saudi Aramco Oil Company, which wanted a new knowledge incubator for Saudi Arabia to symbolize the nation’s aspirations for a diversified economy. The one-million-square-foot complex will feature a 930-seat Grand Hall as well as a cinema, library, exhibition hall, museum, and archive, among other offerings. The desert-bound structure is designed to resemble a series of stacked pebbles clad in parallel bands of metal piping. Inside, these give way to graphic, linear patterns that reveal a delicate metal structure underneath. Meanwhile, the Grand Hall's ceiling is wrapped in perforated copper panels. Jeddah Tower (formerly Kingdom Tower)| Adrian Smith + Gordon Gill Architecture; Calthorpe Associates Opening 2020 When completed, Adrian Smith + Gordon Gill’s 3,280-foot Jeddah Tower will stand as the tallest building on Earth. The organically shaped pinnacle will be the focal point of the Kingdom City development (population: 210,000), a forthcoming $20 billion economic area master planned by Berkeley, California–based Calthorpe Associates for Saudi Arabia’s west coast. The tapered skyscraper is structured to mimic desert vegetation and is built with petal-shaped apartment blocks at its base. It will also contain a hotel, commercial spaces, and a variety of observation platforms above. King Abdullah University of Science & Technology BuroHappold; HOK Completed 2009 In 2009, St. Louis, Missouri–based HOK designed and built an 8,900-acre campus for the King Abdullah University of Science & Technology in Thuwal, Saudi Arabia, in just over 30 months. The 940-student university contains some of the most advanced scientific lab equipment in the world and features 5.5 million square feet spread across 27 buildings, including two million square feet of laboratories. The labs are arrayed across four 500,000-square-foot structures designed to be “flexible building shells” with universal floor plates that can accommodate different lab setups. The structures are wrapped in horizontal metal louvers to control for glare while the campus library is faced with translucent stone cladding that casts light from within at night. Haramain High-Speed Railway Stations Foster + Partners; BuroHappold Opening 2018 Foster + Partners and BuroHappold are working on a series of transformative high-speed rail (HSR) stations across the country as the Saudi government pushes to boost regional connectivity with a new 280-mile-long HSR line with stops in Medina, Mecca, Jeddah, and the King Abdullah Financial District. Designs for the stations are meant to seed new urban areas in each locale by fusing cavernous, 85-foot-tall arched interior spaces with strategically-placed solid facades to limit solar gain, overhead bridges to create covered outdoor spaces around the stations, and direct connections to the country’s most bustling cities. The line is expected to open sometime this year and will carry 135 million passengers per year by 2042. King Abdullah Financial District Henning Larsen; SOM Opening 2020 Danish architecture firm Henning Larsen has master planned a new business district on the northern edge of Riyadh, where 59 high-rise towers are now in the works. The firm took inspiration from the city’s historic center when calibrating the positioning of each of those towers, generating a taut, tall cluster of angled and closely set monoliths. The arrangement is designed to minimize solar penetration into the city, resulting in ambient temperatures—the designers hope—up to ten degrees cooler than surrounding areas. The massive, nearly complete development area has been in the works for years and features contributions from SOM, CallisonRTKL, Gensler, Foster + Partners, and many others. King Abdullah Petroleum Studies & Research Center Zaha Hadid Architects Opening 2018 Zaha Hadid Architects (ZHA) recently completed the 750,000-square-foot KAPSARC (King Abdullah Petroleum Studies & Research Center) complex, a nonprofit research institution focused on “policies that contribute to the most effective use of energy to provide social well-being across the globe.” The honeycomb-shaped complex is designed to optimize solar and wind orientation and is made up of five buildings clustered around a series of interlocking courtyards topped by metal canopies. The complex, which opened earlier this year, was one of the final projects Hadid oversaw. Among other features, it includes a 300-seat auditorium, a library with 100,000 volumes in its archive, and an inspirational prayer area called a Musalla.
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Renovation of the Smithsons’ Economist Plaza in London is revealed

When one hears of a piece of architecture by Alison and Peter Smithson being altered, the worst comes to mind, particularly when developer Tishman Speyer promises a "wholesale re-imagining." With demolition photographs of the architects' Robin Hood Gardens splayed across every design publication and blog, this protective instinct is more than justified. Now, London firm Deborah Saunt David Hills Architects (DSDHA) has completed Phase One of such a "re-imagining" of the Smithsons' Economist Plaza. And if evidence of this first phase is a precedent for the rest, then we can breathe a momentary sigh of relief, for the project is in safe hands. Comprising a trio of buildings, all varying in height, the Economist Plaza off St James's Street is a quiet enclave in the city, a welcome respite a stone's throw away from the tourist throbbing bustle of Piccadilly Circus. It was designed by Peter and Alison Smithson for the Economist magazine and finished in 1964, a decade after the Smithsons first took to the architectural stage with the Hunstanton Secondary Modern School. Tishman Speyer's decision to employ DSDHA reflects a sensitivity to the project, something it is well-versed in through its management of other 20th century icons like New York's Chrysler Building and Rockefeller Center. Its decision to rename the complex to "Smithson Plaza" in the original architects' honor embodies this ethos. The Smithsons' contribution to architecture is enormous. As teachers, writers and academics, they were prolific. But as architects? Not so, and today, their eponymous plaza is their last remaining work in London. DSDHA has refurbished the tallest tower, renamed "Smithson Tower," which rises to 15 stories and was once owned and fully occupied by The Economist. Here, the lobby has had a facelift and the tower has new elevators, double-glazed windows, insulation and services, replacing the Smithsons' unorthodox and outdated ventilation system. A new, 1,500-square-foot public cafe (yet to be finished) has been installed on the tower's ground floor. However, this, combined with a reinstated public art program on for the plaza, heralds the danger of the plaza losing its tranquillity as it becomes both visually and programmatically busier. "We found that many people didn't even know this was a public space," Deborah Saunt, co-founder of DSDHA, told The Architect's Newspaper. Inside the upper six floors of the tower, renovation work has created 21,500 square feet of office space. Who will inhabit that remains to be seen. To its previous tenants, the vistas were a source of empowerment. "Perhaps our height also gives us greater confidence in handing down Olympian judgments on world affairs," the Economist wrote in a 2016 farewell letter after it had sold the premises for $170 million. The tower's facade has also been cleaned to reveal its pitted Portland Stone and Roach Bed stone. On the ground, the plaza has been resurfaced with granite, a material which has been allowed to flow into the new lobby where it replaces what was once concrete flooring. If you ignore the impending planters, the plaza has since become a much lighter space in a show of pure materiality. And when washed in sunlight, the tower's almost gleaning beveled edges are as tactile as any imported verdure. Only now do Skidmore, Owings & Merrill's (SOM's) 1990s interventions, adding a canopy and extending the lobby into the colonnade with glass and travertine cladding, seem horribly hamfisted. DSDHA has done well to undo some of this work, replacing the travertine with Portland Stone, for example. With the lobby gaining a new concrete bench, akin to an original external seat and now sharing materiality with the plaza, the colonnade feels primed to realize its potential as the threshold it was originally intended to be. For the time being, however, the canopy and glass frontage, spaced awkwardly close to the colonnade, remain. More changes had been planned by SOM as well, with two further stories proposed for the plaza's tallest tower. On the 13th of June in 1988, though, the plaza and its buildings were hurriedly awarded Grade II listing (the equivalent of landmarking)—a move which makes you wonder, particularly in the aftermath of the Robin Hood Gardens demolition, where the spirit to preserve architecture has gone. The Smithsons, of course, were aware of change being around the corner. In 1965, they remarked that in 200 years' time, their work "may seem an error." "But in our situation," they continued, "there is no other course but to build and to demonstrate." Even DSDHA's proposals did not come without backlash when they were unveiled in 2016. "The Smithsons’ best and last remaining London building deserves better," wrote critic Ellis Woodman in February 2017, as other architects voiced their concern. Some of DSDHA's plans have been curtailed. A proposed spiral staircase will now be a much simpler slip stair, which will lead to a new gallery space—a conversion of the former car park. These changes are due to be made in later phases as part of the addition of 4,600 square feet of retail space.
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Former Calatrava Spire site in Chicago will hold two SOM-designed skyscrapers

In a generous and surprising nod to the Chicago School of Architecture, David Childs with Skidmore, Owings & Merrill has designed two sister towers in terracotta and glass for the former site of the Chicago Spire. Announced Tuesday night at a community meeting by developer Related Midwest, renderings for the development show two towers rippling upwards, set upon a masonry base resembling a rectangular photo carousel. Taking inspiration from some of the cities’ most significant buildings, Childs has covered the towers in a familiar architectural form–the Chicago Window–with setbacks allowing for pivot after pivot of the form in various multiples as the building reaches higher. Glazed terracotta became a way for turn-of-the-20th-century Chicago architects like Louis Sullivan, Daniel Burnham and William Le Baron Jenney to craft ornament that could be designed to exact specifications and made hollow, allowing them to decorate the tops of buildings. Topping off at 1,100 feet, the south tower will be constructed adjacent to the riverwalk and will offer 300 condominiums and a 175-key hotel. The north tower will offer 550 apartments and will be aligned with the Ogden slip, at 850 feet tall. A shared podium will provide pedestrian and vehicular accesses for both towers. Parking will be delivered via four underground levels. In addition to luxury offerings, Related Midwest has committed to realize the completion of a long-awaited public park on a rectangular piece of vacant land, separated by Lake Shore Drive. The creation of DuSable Park will honor the legacy of Chicago’s founder, Jean-Baptiste Pointe DuSable, and realize the vision of Mayor Harold Washington for public space atop what was once a site contaminated with thorium from the manufacture of incandescent gaslight mantles. Plans for the development, currently known as 400 North Lake Shore Drive, do not specify how the construction will address what remains of the Chicago Spire, a 78-foot-deep, 104-foot-wide underground cofferdam that sits below what will be the south tower. Construction of the towers is anticipated to take four and a half years.
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David Childs of SOM to design two skyscrapers for former Chicago Spire site

Developer Related Midwest has announced plans to construct two skyscrapers on the former site of the Chicago Spire, with Skidmore, Owings & Merrill’s David Childs at the design helm. While renderings for the project have yet to be released, the Chicago Tribune reports that the site calls for two multi-functioning towers, each clad in glass with setbacks that taper towards the sky. Currently known only by its address, 400 North Lake Shore Drive, the project details are to be unveiled by Related Midwest on Tuesday at 7 pm during a community forum hosted by the Streeterville Organization of Active Residents at the Sheridan Grand Chicago. Thus far, the plans call for an 850-foot tower at the northern edge of the site along the Ogden Slip, and a 1,000-foot tower located at the southern edge of the site. The shorter tower will house apartments, with the taller tower to include condominiums and hotel rooms. Both towers will be located on a podium with building amenities. The high rises will take up more space on the site than the Chicago Spire originally called for. Along with the plan for the Spire site, Related Midwest has provisionally agreed to fund a portion of the construction of DuSable Park, a rectangular 3.3-acre parcel of land east of Lake Shore Drive. First dedicated as open space by Mayor Harold Washington in the 1980s, Related Midwest has not indicated if or how the park will relate to the towers. Most notably, Related Midwest has not specified how the construction will address what remains of the defunct Chicago Spire, now a 78-foot-deep, 104-foot-wide cofferdam over a decade old, the beginnings of a 2,000-foot unicorn horn shaped supertall building designed by Santiago Calatrava. If constructed as planned, the Spire would have been the tallest structure in the country. Related Midwest recently released renderings for a 62-acre Near South Side development they are calling "The 78," a serious of mixed-use, multi-phase structures built atop the largest undeveloped piece of land along the Chicago River. David Childs, a consulting partner in the SOM New York Office, is best known for designing One World Trade Center. Other work by Childs includes 7 World Trade Center, The Times Square Tower, and the U.S. Embassy in Ottawa.