Posts tagged with "SOM":

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SOM unveils a new look for Kansas City's $1.5 billion airport terminal

It’s been a long road for those involved in Kansas City’s mega-plan to upgrade its outdated international airport, but the process is moving along In late 2017, a proposal by Skidmore, Owings & Merril (SOM), put together in collaboration with the Maryland-based Edgemoor Infrastructure & Real Estate, was overwhelmingly approved by the local city council, but less than a month later, things seemed to have gone awry. AECOM and local firm Burns & McDonnell announced their counterproposal for the new Kansas City International Airport (KCI) project after their scheme had been previously passed over earlier in the year after officials became frustrated with Edgemoor’s lack of clarity over how they would fund what was seen by some as unnecessarily expensive design moves.  Burns & McDonnell sued to overrule the developer’s selection, but its efforts were in vain and the only real consequence was a significant trim to the budget for the KCI project. Now, two years later, Edgemoor and SOM’s plans have been finalized and the design is a bit flatter than originally proposed.  Using feedback collected from local residents and stakeholders over the last year, the team revealed new renderings last week during a business session meeting with the Kansas City city council. The one-million-square-foot project is still scaled back as was previously unveiled last August, but the ideas are much more clear and include further details.  Slated to be built on the site of KCI’s demolished Terminal A building, SOM’s single-terminal structure will combine the three existing terminals into one H-shaped design. It will feature a smooth, flat roof with skylights spanning the two-story check-in area, as well as narrow, clerestory windows in the public corridors. Floor-to-ceiling windows will light up the 39 gates within the terminal, also providing views of the surrounding airfield, with room for the building to expand to up to 50 gates. The design team will use warm, natural materials such as native wood and stone on the ceilings and walls respectively, paying homage to Kansas City’s welcoming atmosphere, according to officials. An indoor fountain will be integrated into the retail and dining “cul-de-sac,” which includes a small bevy of planters and seating for relaxing on before a flight. An interactive display detailing the history of Kansas City and the airport will be set aside in a corridor as well. On the other side of the terminal's entrance, a 6,300-spot parking garage will provide travelers with easier access to the main building.  The revamped KCI is expected to open in four years ahead of the NFL Draft, which Kansas City is set to host in April 2023. The $1.5 billion project broke ground in March of this year. 
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Remembering César Pelli’s lost mark on the Midwest

César Pelli, the world-renowned architect who passed away in July, will likely be remembered for his largest and most recognizable commissions: the Salesforce Tower in San Francisco, the National Museum of Art in Osaka, and the Petronas Towers in Kuala Lumpur, among others. But unlike many buildings designed by "starchitects" these days, some of Pelli's most compelling and controversial work has fallen by the wayside of mainstream industry discourse.

In 1968, municipal leaders in the architectural Mecca of Columbus, Indiana commissioned Skidmore, Owings & Merrill (SOM) to devise a masterplan that would reverse the deterioration of the city’s downtown area. Among other recommendations, SOM highlighted the need for a new shopping complex in the central part of the city—a project that would help to enliven streets and reduce consumers’ reliance on less centralized malls in the suburbs and exurbs. The city set aside two square blocks for the project, along with three additional blocks for parking, and waited for investors to take on the venture.

No bites came. After waiting in vain for property developers to take over the project, the Irwin Management Company, controlled by local businessman and head of the Columbus-based Cummins Engine Company, J. Irwin Miller, bought the lot. In order to build a state-of-the-art shopping center, Miller hired an architect still in the incipient stages of his career, a young Argentine-born man with six completed projects under his belt. César Pelli soon arrived in Indiana and made several suggestions regarding the composition of the center, including that a significant portion of the site be designed as a community gathering space.

Between 1972 and 1973, Pelli built a complex consisting of two main buildings. The first building, the Courthouse Center, named for its proximity to the historic Columbus Courthouse, housed conventional shopping mall. The other building, called “The Commons,” was connected to the first by a single glass envelope and housed a 63,000-square-foot, multi-level public space. Under 38-foot-tall ceilings, Pelli designed a 2-acre park that he compared to Italian piazzas, complete with benches, planters, and playgrounds for children. The bronze-tinted glass reflected enough light to prevent passive heat gain but also allowed for sweeping views of the street from inside. The atrial space became a popular venue for public events, with enormous structural elements and sloping roofs that towered above visitors. As locals increasingly frequented The Commons, the adjacent mall assumed “The Commons Mall” as a colloquial nickname.

The Commons represented Pelli’s first contribution to Columbus’ built landscape. The building stood alongside great modernist masterpieces by the likes of I.M. Pei, Harry Weese, and Robert Venturi—all of whom were commissioned through an altruistic program established by Miller’s foundation. The industrialist persuaded city officials to hire architects from a list of five blue-chip designers that he had assembled, agreeing to pay their top-dollar fees himself. Miller believed that high-quality buildings would help attract investment and talented engineers to the town, both of which would bolster the Cummins Engine Company’s business prospects.

César Pelli, in fact, had first visited Columbus in 1956 to tour the Eero Saarinen-designed Miller House, which was still under construction. Completed at a time when much of his portfolio consisted of buildings in coastal states, The Commons was also Pelli’s first project in the Midwest. He would go on to accept several commissions in the region during the following decades, primarily for institutional or corporate projects in urban centers and college towns. The Commons was the architect’s only built structure in the state of Indiana until 2011, when he finished the Advanced Manufacturing Center of Excellence, also in Columbus.

With its bulky, monolithic facades and expansive glass curtain walls, The Commons was viewed by some as a precursor to Pelli’s Pacific Design Center, which he finished in Los Angeles in 1975. The latter achieved far greater renown than the former, but their shared design cues are unmistakable. As Pelli’s career advanced and he reached the upper tiers of architectural prominence, his affinity for seamless glass designs gave way to a material approach that often included both glass and stonework—a stylistic choice more characteristic of the postmodern era. Many of his 21st-century commissions signaled a return to the glass curtain wall, a medium that has achieved greater flexibility and versatility since the 1970s. The architectural significance of The Commons weathered many of these fluctuations, so much so that it played host to the Pritzker Prize ceremony in 1994.

Eventually, in the first years of the 21st century, it became clear that The Commons and its adjacent mall were facing an upward battle against deteriorating physical conditions and increasing maintenance costs. The Irwin-Sweeney-Miller Foundation bought the property in 2005 and began to mull over strategies for redevelopment, ultimately concluding that the retail space would have to be torn down. As part of the plan, The Commons was also almost entirely demolished in 2008, leaving only its steel skeleton and Chaos 1, a site-specific kinetic installation by sculptor Jean Tinguely. The building that replaced it, still called The Commons, was designed by the Boston-based firm Koetter Kim.

In a city where architectural heritage is both a huge point of pride for residents and the lifeblood of a burgeoning local tourist economy, Pelli’s building is one of few major structures ever to be dismantled. Much like César Pelli himself, it lives on today not only through photographs, drawings, and individual memories, but through an architectural legacy that extends well beyond walls.

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SOM will join O'Hare expansion with two new $1.4 billion concourses

It’s official: Skidmore, Owings & Merrill (SOM) has been selected to design two, $1.4 billion satellite buildings at O’Hare International Airport to pair with Studio Gang’s plan for a new Terminal 2. As the runner up in the competition to secure the site’s new Global Terminal project, the veteran, Chicago-based firm will still be able to cement their vision within O’Hare’s upcoming mega-expansion with their connecting concourses spanning a total of 1.2 million square feet. Slated to break ground in 2022, the structures will be built west of Terminal 2 and link to it via underground tunnels. It’s not completely clear yet what SOM’s design will entail, since Chicago’s Department of Aviation, which announced the news this week, didn’t release any additional design renderings. It is expected, however, that SOM’s buildings will match the tone and palette chosen by Studio ORD Joint Venture Partners (the multi-pronged team led by Studio Gang) for the core concourse. This mean’s SOM’s original proposal, which was designed in tandem with Ross Barney Architects and Arup, and inspired by the airport’s original name, Orchard Field, likely won’t be fully realized. Despite this, the tall glass walls and nature-infused interior in the firm’s initial competition entry might still be integrated somehow into the light-filled and timber-clad architecture of Terminal 2. Jeane Gang said in a statement that all collaborating firms will work together to make a space that “captures the unique culture of Chicago.” Of the other three firms who were shortlisted in the competition, SOM’s appeared to be the most complimentary to Studio ORD’s design. While Terminal 2 is expected to be a rather dramatic piece of architecture with an airy, timber-clad interior, the satellite structures might be as well, albeit smaller and thinner. The proposals by the losing group of finalists, Santiago Calatrava, Foster + Partners, and Fentress Architects, shared these similar qualities but they didn’t the advantage of being a hometown studio.  Expected to be complete by 2026, the transformational Global Terminal project is part of former mayor Rahm Emanual’s O’Hare 21 initiative, a push to modernize the 75-year-old O'Hare International Airport and upgrade its passenger experience and commercial offerings. By replacing the current Terminal 2 with the new $8.5 billion spaces by Studio ORD and SOM, the airport will nearly double in size from 5.5 million square feet to 8.9 million square feet. 
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Leading women working in facade design address industry's challenges

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.
  • Topic Legend

  • Heading toward decarbonization
  • Technological change
  • Inspiration
  • Special Projects
  • Material innovations—laminated glass and stone
  • Trends 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.
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SOM and MIT shoot for the Moon with design for lunar village

While NASA is researching 3D-printed habitats for the Moon and Mars, the European Space Agency (ESA) has tapped Skidmore, Owings & Merrill (SOM) and the Massachusetts Institute of Technology (MIT) to envision a theoretical lunar city. The Moon Village, which SOM will masterplan, design, and engineer, not only reflects the collaborative nature of the ESA’s mission but also lays out a plan—and base of operations—for space exploration past 2050. As Israel prepares to potentially land the first privately-funded spacecraft on the Moon, the Moon Village would take a decidedly more multinational approach and could be used by future science missions or even space tourists. Set up along the rim of the Shackleton crater on the Moon’s south pole, which receives continuous sunlight for nearly all of the lunar year, the Moon Village would rely on solar power to generate electricity. The possibility of water ice inside the crater itself, which is always shadowed, would provide the colony with another potential resource to tap. “The project presents a completely new challenge for the field of architectural design,” said SOM Design Partner Colin Koop. “The Moon Village must be able to sustain human life in an otherwise uninhabitable setting. We have to consider problems that no one would think about on Earth, like radiation protection, pressure differentials, and how to provide breathable air.” How did SOM design around those tight constraints? The village’s modules would all inflate or deflate depending on their programmatic needs. Each structure would be about three-to-four stories tall and contain living quarters, environmental controls, life support systems, and workspaces. Eventually, 3D-printed regolith shells could protect the modules from radiation, fluctuations in temperature (although Shackleton crater has a more consistent temperature than other parts of the Moon), and dust. Modules would be clustered and linked through pressurized tunnels to provide easy transportation between them. A series of in-situ resource utilization (ISRU) experiments could help determine how to best use the Moon’s natural resources. Oxygen and possibly rocket fuel could be generated from the nearby ice, and food could be conceivably grown in the environment. The Moon Village has been envisioned as a three-stage development that would eventually create a long-term, sustainable Moon community. The first phase, the master plan revealed on April 9, used near-future technology; but, as Fast Company pointed out, the Moon Village would still be reliant on international cooperation, and that’s far from assured right now.
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AIASF Awards highlight game-changing Bay Area designs

The American Institute of Architects, San Francisco chapter (AIASF) has announced the award recipients of its 2019 AIASF Design Awards program. This year, the group is honoring projects located throughout the San Francisco Bay Area as well as in other parts of the country in architecture and interior design categories with special awards highlighting projects that excel in historic preservation, community infrastructure, urban transformation, and other areas. 

Included in the list of winners this year are Aidlin Darling Design's In Situ restaurant at the San Francisco Museum of Modern Art, Saint Mary's Student Chapel by Mark Cavagnero Associates, and the Rain installation in Washington, D.C., by Thurlow Small Architecture + NIO architecten, among many others.

The 2019 AIASF Design Awards program was juried in New York City in partnership with the AIA New York. The jury deciding the awards program includes Katherine Chia of Desai Chia Architecture, Stefan Knust of Ennead Architects, Jason Long of OMA, Susan T. Rodriguez, and Kim Yao of Architecture Research Office.

See below for a full list of winners:

Architecture

Honor Monterey Conference Center Skidmore, Owings & Merrill LLP

Ridge House Mork Ulnes Architects

Roseland University Prep Aidlin Darling Design

Saint Mary's Student Chapel Mark Cavagnero Associates

Merit

The Amador Apartments jones | haydu

Tree House Aidlin Darling Design

Citation

Kua Bay Walker Warner Architects

SoMA Residence, Artist Gallery + Studio Dumican Mosey Architects

The O'Donohue Family Stanford Educational Farm CAW Architects

University of California, Merced, Pavilion at Little Lake Skidmore, Owings & Merrill

Interior Architecture

Merit In Situ Aidlin Darling Design

Citation

Confidential Financial Services Firm Gensler

Studio Dental II Montalba Architects

El Pípila Schwartz and Architecture

Commendations

Commendation for Historic Preservation

Lodge at the Presidio Architectural Resources Group

Commendation for Urban Design

Hunters Point Shoreline envelope A+D

Commendation for Social Responsibility

El Pípila Schwartz and Architecture

Special Commendation for Commitment to Community Spaces

901 Fairfax Avenue Paulett Taggart Architects + David Baker Architects

Special Commendation for Sustainable Community Infrastructure

Half Moon Bay Library Noll & Tam Architects

Special Commendation for Urban Infrastructure Enhancement

Rain Thurlow Small + NIO architecten Special Commendation for Urban Transformation 1100 Ocean Avenue Supportive Family and Transitional-Aged Youth Housing Herman Coliver Locus Architecture
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JPMorgan Chase plans tallest controlled building demolition in history

JPMorgan Chase, the largest bank and financial services company in the United States, filed permits last month to demolish its massive headquarters on Park Avenue to build an even bigger, 70-story tower on the same site for its ever-growing number of employees, according to CityRealty. The destruction of the 52-floor, 1.5-million-square-foot tower will mark the tallest planned demolition in history, surpassing that of New York City’s Singer and Deutsche Bank Buildings. The 2.5-million-square-foot replacement will be the first skyscraper to rise up after the 2017 rezoning of Midtown East, which made a 73-block area surrounding Grand Central Terminal available to taller skyscrapers. JPMorgan Chase has long been dissatisfied with its outdated headquarters at 270 Park Avenue, with over 6,000 of its employees jam-packed into a building meant for only 3,500 people. While the modernist tower was designed by Skidmore, Owings & Merrill’s esteemed Natalie Griffin de Blois, a female pioneer in the architectural field, it is not protected by landmark status from demolition. Its soaring replacement will be more open and flexible with 20 additional floors where employees will have an extra one million square feet of office space. JPMorgan Chase has slated the demolition work for early 2019, and a construction elevator can already be seen alongside the building. Once the new structure is completed in 2024, it will be one of the tallest buildings in New York City and one of the largest office buildings in the northern hemisphere. The design team, led by Foster + Partners, will seek LEED certification, and the project anticipates to introduce over 8,000 construction jobs to the city. In the meantime, JPMorgan Chase has negotiated leases at nearby buildings—including 237, 245, and 277 Park Avenue—for the workers who will soon be displaced due to the impending wreckage.
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Cincinnati's Terrace Plaza Hotel takes its first step towards landmark status

The first International Style hotel in America may not fall into disrepair or have its iconic exterior transformed after all. After a 5-1 vote in favor of a local landmark designation for the Terrace Plaza Hotel by the Cincinnati Historic Conservation Board on February 25, the designation will advance to the City Planning Commission, and finally the City Council. Completed in 1948, the 20-story redbrick tower was the first hotel project from SOM. Natalie de Blois led the design team, which was responsible for everything from the interiors, to the staff uniforms, down to the ashtrays and matchbooks. The building’s most distinctive features are its windowless seven-story base, which projects an imposing presence on the street, and its circular steel-and-glass Gourmet Restaurant space on the roof. As photographer Phil Armstrong detailed in his historical documentation, much of the building’s interior has fallen into ruins. The building has unfortunately sat vacant for a decade, and plans began floating around from a prospective developer at the beginning of last year to strip the hotel’s monolithic base and replace it with a glass box. It should be noted that the building was included on the National Register of Historic Places on August 21, 2017, according to Docomomo U.S., but that this doesn’t provide the level of protection that a local designation affords. The hotel was sold in August of 2018 to the New York–based real estate investment firm JNY Capital. JNY nearly immediately faced the threat of a lawsuit from the city over its refusal to make necessary repairs to the building after ground-floor tenant complaints—and after a chunk of the building dislodged and smashed a parked car below. JNY has been looking into adding windows to the tower’s first seven floors, which it claims is necessary to attract office tenants following a redevelopment but would destroy the building’s historical significance. Now, that plan may be on hold as a landmark designation may be looming; the final decision should be handed down by the City Council sometime in the next six months. During the Cincinnati Historic Conservation Board’s meeting, the economic feasibility of redeveloping the building while remaining true to its legacy was discussed, but the board’s members ultimately decided that it was beyond the purview of their discussion. JNY remains opposed to the designation and has stated it has no plans to demolish the hotel or its towering facade.
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First phase of Hudson Yards set to finally open to the public

Four blocks of Manhattan’s Far West Side were rezoned 14 years ago for New York's ambitious 2012 Olympic bid. After a failed attempt to secure the games, the parcel of land was awarded in 2008 to real estate giant Related Companies. Through a public-private partnership in which Related would oversee the design, construction, and long-term maintenance of the site, the group began creating what's now the largest private development in the history of the United States. Set atop a cluster of rail yards between 10th and 11th avenues, the first phase of the multibillion-dollar megaproject known as Hudson Yards is set to open on March 15, when a cohort of towers and parkland previously inaccessible to the public will be unveiled. Ahead of the much-anticipated launch date, here’s a brief look at what’s already opened and what’s coming online this spring. 10 Hudson Yards Designed by Kohn Pedersen Fox Associates (KPF), this 895-foot-tall office tower was the first structure completed on-site in May of 2016 and features 1.8 million square feet of commercial space. It boasts tenants such as Coach, L’Oréal, Sidewalk Labs, VaynerMedia, and Boston Consulting Group, among others. A Spanish food hall by José Andrés will also be located in the building. 15 Hudson Yards Rising 917 feet in the sky, this residential tower will offer 285 luxury apartments and 107 affordable rentals come March. The skinny skyscraper was designed by Diller Scofidio + Renfro (DS+R) as lead architect and Rockwell Group as lead interior architect. 30 Hudson Yards This commercial tower, also designed by KPF is the tallest in Hudson Yards, stretching 1,296 feet in the air, and is set to open in March. It features the city’s highest open-air observation deck, which will be open to the public in 2020. Major media groups such as HBO, CNN, Turner Broadcasting, Time Warner, and Wells Fargo Securities, are set to move in this March. 35 Hudson Yards Also opening this spring, this mixed-use supertall tower was designed by David Childs of Skidmore, Owings + Merrill. It will house 143 condominiums, as well an Equinox Club at the base of its 92 floors. A branded hotel by the luxury fitness company will also open inside the structure. 55 Hudson Yards KPF worked alongside Kevin Roche John Dinkeloo and Associates to design this boxy, 780-foot office structure. Completed last year, it's already opened to tenants, serving as the headquarters of several law firms and financial groups. Vessel/New York’s Staircase Heatherwick Studio’s monumental work, known now as New York’s Staircase or Vessel, was commissioned to become the development’s signature work of art. As the centerpiece of Hudson Yards’ five-acre public park, designed by Nelson Byrd Woltz Landscape Architects, the spiraling, copper-clad work stands 150 feet tall and weaves 2,500 steps throughout its structure. It will open to visitors starting in March. The Shops and Restaurants a.k.a. 20 Hudson Yards This seven-story structure, designed by Elkus Manfredi Architects, will contain 25 fast-casual dining options and restaurants helmed by famous chefs like Thomas Keller and David Chang. The one-million-square-foot building will also feature over 100 luxury shops and an immersive exhibition space by Snarkitecture called Snark Park. The Shed, a.k.a the Bloomberg Building This 200,000-square-foot structure features a retractable outer shell designed to open and enclose a year-round exhibition space and performing arts venue. Also designed by DS+R in collaboration with Rockwell Group, the structure sits at the base of 15 Hudson Yards and will serve as the city’s newest cultural center. The project will open on April 5.
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Dubai's ruler will literally leave his fingerprint on the city with new supertall tower

Not content with only 13 supertall towers, including Santiago Calatrava’s 3,000-plus-foot-tall Dubai Creek Tower, the state-owned Dubai Holding has revealed plans for the 1,804-foot-tall Burj Jumeira. The split-volume tower, which will feature a large void between its two curvilinear masses (resembling an elongated take on Zaha Hadid Architects’ Macau Hotel), will erupt from a pond emblazoned with the fingerprint of Dubai’s ruler, Sheikh Mohammed bin Rashid al Maktoum. The Burj Jumeira, not to be confused with the nearby Burj Al Arab Jumeirah hotel, will be springing up in a new mixed-use neighborhood in Dubai’s Al Sufouh area. “Downtown Jumeira” will hold a mix of residential, office, and commercial buildings, hotels, an amphitheater, space for artists and cultural events, and, judging from the video released by the Dubai Media Office, a fountain inside the fingerprint pool. The tower itself, whose design was reportedly inspired by shifting sand dunes, will be wrapped in an enormous digital screen capable of lighting up the entire building. A sky lounge and restaurant will round out the 360-degree observation deck planned at 1,476 feet up, and the tower is expected to be a major draw for tourists. The reveal comes before the World Expo 2020 Dubai, as the United Arab Emirates city ramps up its architecture bona fides, an effort that created the world’s largest picture frame. Work on the Burj Jumeira began on January 31, the same day it was announced, and Dubai Holding expects the first phase of the project to be complete in 2023. No cost projection has been released yet, but the New York office of SOM will handle the tower's design and engineering, as well as the development of the Downtown Jumeira master plan.
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New York's Landmarks Preservation Commission approves resurfacing of modernist 140 Broadway plaza

The third time’s the charm for engineers NV5 and preservation consultants at Higgins Quasebarth & Partners. On February 5, the team, this time joined by stone conservation expert George Wheeler, successfully argued before New York’s Landmarks Preservation Commission (LPC) for permission to swap the stone out at the Manhattan plaza of the landmarked 140 Broadway building. The former Marine Midland Building, an international-style office tower designed by Gordon Bunshaft and SOM in 1967, is distinctive for how its imposing black massing “floats” above a plaza of what was originally travertine surrounding Isamu Noguchi’s distinctive Red Cube. The travertine pavers were replaced with pink granite in a 1999 renovation, and the project team went before the LPC to propose a new shade of granite closer to the original stone. That drew the ire of preservationists and some of the commissioners, who asked why travertine wasn’t being used instead. Much of the presentation (available here) from 140 Broadway’s ownership and project team dealt with that question. The pitch was that granite, with a compressive strength of nearly three times that of travertine, would be a much more durable replacement. Travertine’s pockmarked nature also renders it particularly vulnerable to freeze-thaw cracking and salt blooms because water easily impregnates the porous stone. The team maintained that five-inch-thick travertine pavers would be needed to meet all of their aesthetic and safety concerns, and that because of the voids under the plaza, the pavers can only be two-inches thick. While Bunshaft had chosen travertine to evoke the feeling of a Roman plaza, the presentation made it clear that New York’s climate was much harsher than Rome’s. The comprehensive analysis was done after the ownership team’s prior two LPC presentations in March and November of 2018. Commissioners had previously declined to vote on the proposed granite replacements and suggested that NV5 and Higgins Quasebarth look further into travertine. As preservationist Theodore Grunewald noted, the reason 140 Broadway’s plaza was before the LPC was that the granite installed in 1999 was also failing and that there was no guarantee that it wouldn’t happen again. Travertine plazas are still in use at Manhattan’s W.R. Grace Building and Solow Tower Building, both designed by Bunshaft, but the project team noted that the drainage systems and sloped “skirt” at the base of each tower helped facilitate the quick movement of water off of the vulnerable stone beneath. Ultimately the commissioners voted to approve the use of Tudor Gold Granite, although there were some concerns about the need to choose a color closer to the original travertine. Commissioner Adi Shamir-Baron, the only nay vote at the hearing, noted that the commission’s role was to preserve moments in time, regardless of viability, and not just upgrade the city’s properties with "space-age materials."
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SOM designs first public library for Chicago's West Loop

In an old Harpo Productions building in Chicago's West Loop, Skidmore, Owings & Merrill (SOM) has designed a new branch for the Chicago Public Library, the first outpost of the system in the neighborhood. The two-story, 16,500-square-foot building unites two older structures into a single cultural center for the area. The interior design takes its cues from the neighborhood's historic warehouses and stripped back existing partitions and finishes to reveal the brick and timber structure. Shelves were kept low so that spaces could feel and sight lines could be maintained. Brian Lee, design partner at SOM said in a statement: "The unique architecture and scale of the West Loop reflects a vital part of Chicago’s industrial history, while the growing residential and mixed-use character of the neighborhood points to an exciting vision of the city’s future." A sweeping graphic runs along the library's walls representing "story lines" from classic children's books and novels that visitors are invited to follow. Coloring throughout is golden and warm, playing off the reddish tones in the exposed brick and wood. Wall text highlights the words of global poets and authors that the designers selected.