The Shigeru Ban-designed Terrace House in Vancouver, set to become the tallest hybrid timber tower in North America once it’s finished, has received its official Building Permit and can begin construction. Vancouver-based PortLiving is developing the 19-story, 232-foot condo high-rise, which will contain only 20 luxury units and features a mixture of glass, concrete, and wood for the building’s terraced 12-story podium. The triangular seven-story extension at the building’s top will drop the concrete façade and expose the underlying structural timber, which is partially the reason for the delay in permitting. The approval of an “Alternative Solution” permit by Vancouver’s Chief Building Official’s Office means that the exposed timber complies with the city’s structural, fire and seismic-related regulations, and has been proven as safe as a conventionally-constructed tower of the same height. While no timber buildings of this height have been approved for construction before in either the U.S. or Canada, Canadian Architect notes that the 18-story Brock Commons, a mass timber student residence at the University of British Columbia, was allowed to rise after it covered all of its exposed timber with fire-rated gypsum. Earlier this month, Shigeru Ban Architects Americas released a first look at renderings of Terrace House’s interiors. The homes inside of the gable-shaped topper will receive full-floor views of the surrounding city and mountains, and will keep the wood floor slabs fully exposed. Ban will also be designing all of the fixtures, handles, pulls and millwork for each of the 20 units. Terrace House is located in Vancouver’s waterfront Coal Harbor, and Ban has stated that he specifically sought to reference the neighboring Evergreen Building, a landmarked tower designed by the late architect Arthur Erickson, through the use of layered terraces, triangular forms and natural materials. Viewed from the street, the cascading balconies of the Evergreen Building, seem to become a natural extension of Ban’s Terrace House.
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After visiting the Kalobeyei Refugee Settlement in Kenya, Pritzker Prize–winning architect Shigeru Ban has signed an agreement with UN-HABITAT to design up to 20,000 new shelters for the site’s incoming refugees. Ban has previously completed similar projects in Nepal, Turkey, Rwanda, and Italy to house displaced populations, demonstrating a skill for creating high-durability, low-cost shelters using eco-friendly building materials such as cardboard, wood, and recycled containers. The shelters need to be a replicable model that can be adapted to Kalobeyei's influx of people. The new housing has been commissioned in response to the settlement’s rapid growth in the past months—it currently houses 37,000 refugees fleeing violence and climate change in South Sudan and Somalia, and is expected to outnumber its original capacity of 45,000 within a year. This project in particular poses challenges: Kenya’s arid, hot climate gives way to powerful floods in the rainy season, existing shelters are rapidly deteriorating, building materials are scarce, and Nairobi is a three-day drive away. Yuka Terada, the Project Coordinator for UN-HABITAT, stated in a press release that the project’s approaches will be “strongly participatory and the relevant county officers, as well as the representatives from refugee and host community, will have an input in the design process.” During his visit to the settlement, Ban also emphasized his commitment to incorporating local architectural traditions into the final product. “The key thing will be to design and construct shelter where no or little technical supervision is required, and use materials that are locally available and eco-friendly. It’s important that the houses can be easily maintained by inhabitants,” he stated. The resulting design will be prototyped on 20 shelters before expansion throughout the settlement.
Vancouver-based developer PortLiving has released the latest plans for the world’s tallest hybrid timber structure, designed by Japanese architect and 2014 Pritzker Prize awardee Shigeru Ban. Nicknamed the Terrace House, the project is located in Vancouver’s Coal Harbor neighborhood and pays tribute to its neighboring landmark-listed Evergreen Building, which was designed by late architect Arthur Erickson. The building, Ban’s first work in Canada and his tallest residential project to date, will house only 20 luxury apartments. Similar architectural cues of triangular shapes, natural materials, and green terraces create continuity between the Terrace House and Erickson’s building, according to the developers. “Shigeru Ban has tremendous respect for Arthur Erickson’s work. It was the opportunity to design a building next to one of Erickson’s masterpieces that initially drew him to this innovative project,” said Dean Maltz, managing partner at Shigeru Ban Architects Americas, in a press release. Cornelia Oberlander, the original landscape architect who worked on the Evergreen Building, and Hermann Blumer, an internationally renowned wood structural engineer, will be brought in to work with Ban. The wood, glass, and concrete building highlights Vancouver’s commitment to sustainable design and advanced timber construction, according to the developers. “We have brought together the best of the best—a team of true experts in creative collaboration, working together for the first time ever on a single project,” said Macario Reyes, founder and CEO of PortLiving, in a press release. “The result is truly a once-in-a-lifetime project setting new standards in design and construction.” Its exact height and dates of construction are unknown. Further project details will be released in coming months.
This summer, House Vision, curated by Muji creative director Kenya Hara, is showcasing a dwelling from Airbnb and Go Hasegawa (the Yoshino House), as well as a slew of Japanese architects including Sou Fujimoto, Atelier Bow-Wow, Kengo Kuma and Shigeru Ban. On display at the exhibition are twelve housing prototypes that respond to the theme of "CO-DIVIDUAL̶ Split and Connect/Separate and Come Together." Architects and design firms were tasked with addressing the idea of connectivity between individuals. In a press release, House Vision stated: "Japan faces significant issues with this topic, as a country struggling with economic stagnation, a decreasing population, an aging society, disasters striking one after another, and increasing friction in interpersonal communication." "That is precisely why Japan is the ideal place to examine the form of the house from many different perspectives, exploring specific survival strategies with the potential to show how we will live in the future," the statement continued. Talks are due to be held at the exhibition, which runs through to August 28 of this year, at the Rinkai Fukuroshin, Jarea, 21 A omi, Koto, Tokyo. Visitors to the exhibition can find the Yoshino House, a product of Airbnb’s newly announced design studio, Samara, who worked with Tokyo-based architect Go Hasegawa. Earlier this year, AN's senior editor Matt Shaw sat down with with Co-founder and Chief Product Officer Joe Gebbia to discuss the house and the future of housing and community. Tickets for House Vision can be purchased here and as well as at the gate.
Renowned Tokyo-based architect Shigeru Ban has joined forces with Vancouver-based developers PortLiving to design a hybrid timber tower filled with luxury condos in the Coal Harbor district of Vancouver. The scheme will take up one of the last plots still available an area already home to many high-end apartments. Ban, who won the Pritzker Prize in 2014, is known for his humanitarian architecture work as well as his use of sustainable materials and construction methods. The development in Vancouver will be known as the Terrace House and the building is due to follow in the footsteps of the architect's previous work. While this project will be Ban's tallest residential project and his first in Canada, the Terrace House will—according to press release from PortLiving—also be the world's tallest hybrid timber structure when complete. However, its exact height and dates for the project have yet been released. Using locally-sourced timber from BC Wood, the development hopes to achieve a minimal carbon foot-print while also setting a "new standard for luxury urban development, sustainability, and engineering innovation." “We are honoured to be working with Shigeru Ban and his team to bring a visionary design and new landmark to the City of Vancouver,” said Macario (Tobi) Reyes, founder and CEO of PortLiving in a press release. “We are extremely excited by Shigeru Ban’s decision to bring his craft to the Pacific Northwest, where we expect he will be embraced for his environmentally-sustainable approach, creative integration of outdoor living, and his leadership in innovation.” “Shigeru Ban Architects welcomes this chance to design our first building in Canada. It is an opportunity to embrace the natural beauty of the surroundings and to capture inspiring views,” said Dean Maltz, Partner at Shigeru Ban Architects USA. Further details of the project are due to be released later in the year. Stay tuned.
New renderings confirm that CetraRuddy's new tower, at the border of Manhattan's Upper East Side and Midtown East, is a total basket case. The images of 200 East 59th Street released in November featured the latticed main entrance, and the wraparound roof decks with spiral staircases, but these are the first images to depict the full tower. 200 East 59th Street is developed by Macklowe Properties, the same entity behind Viñoly's 432 Park Avenue, but this tower is downright diminutive compared to its nearby cousin. It's set to rise 490 feet (35 stories), with 67 units over 99,848 square feet, YIMBY reports. The ceilings will be 14 feet tall, on average, although renderings seem to show the ceilings becoming progressively higher as the floors rise. The base of the tower will host almost 15,000 square feet of retail, and is clad in a shiny facade that takes inspiration from a woven basket. The ground floor looks awfully similar to Shigeru Ban Architects' Aspen Art Museum, a contemporary art space for the ritzy Colorado ski town that was completed in 2014 (and reviewed by AN here). The woven wood panel facade encircles 33,000 square feet of galleries; art sits cozily inside like a hatchlings in an artificial nest. The video below gives a full tour of the museum, for further comparison: https://vimeo.com/165649176 But, since CetraRuddy is a homegrown firm, maybe the luxury tower's true inspiration was the "Big Basket" out in Newark, Ohio that's now threatened with demolition? Regardless of inspiration, CetraRuddy's new Manhattan structure will cost approximately $278 million to build (think of how many crafty woven baskets you could buy for that!). Construction is expected to be complete by the end of 2017.
Calling all multi-tasking architects: Japanese architect Shigeru Ban has designed a combination rollerball pen/retractable architect's scale for Acme studios. Made from aluminum with metric and imperial laser-etched measurements, the triangular pen can be extended to the length of a functional architect's scale for those times when you need to quickly convey a concept or plan.
What does it mean when the winner of the 2016 Pritzker Prize—Chile’s Alejandro Aravena—just came off the jury of the very same award? He was on the jury from 2009 to 2015 and all the jurors from 2015 (The Lord Palumbo (Chair), Alejandro Aravena, Stephen Breyer, Yung Ho Chang, Kristin Feireiss, Glenn Murcutt, Richard Rogers, Benedetta Tagliabue, and Ratan N. Tata) were on the 2016 jury—except Aravena? Two past winners were on the jury prior to receiving the award, but won 5 years after departing. Shigeru Ban served from 2006-9 and won in 2014. While Fukihiko Maki was a juror from 1985-88 and won in 93. Aravena's quick turnaround suggests that there is an emphasis on a definition of architecture that Aravena represents and was put on the jury to make a case for…or that he is part a network that makes these decisions and leads to friends nominating friends for the prize. Is this common in the world of international awards and prizes or is this how stars are made in 2016?
In the immediate aftermath of the 7.3-magnitude earthquake that devastated Nepal, Shigeru Ban did what he does after so many natural disasters and conflicts: He offered to help. Ban announced that his Voluntary Architects’ Network (VAN) would immediately get to work distributing tents to be used for homes and medical centers. As the situation on the ground stabilized, VAN would transition to building homes and community facilities. Ban has now unveiled what these new structures will look like. They are designed to go up quickly and be constructed at little cost. In Nepal, that means using the rubble brick from the earthquake to fill in modular wooden frames. The firm explained: "This simple construction method enables anyone to assemble the wooden frames very quickly and if a roof (a truss made of local paper tubes) is secured on top, and the wooden structure covered with a plastic sheet, people can immediately begin to inhabit the shelters. Afterwards, people can stack the rubble bricks inside the wooden frames and slowly complete the construction themselves." The first prototype is expected to be completed next month. You can donate to the effort here.
Shigeru Ban, the Pritzker Prize laureate known for his humanitarian work, is lending his design talents to earthquake-ravaged Nepal. Ban's Voluntary Architects’ Network (VAN) will start by distributing tents that can serve as shelter and medical stations. Then, over the next few months as conditions in the country stabilize, VAN will expand its presence by working with local universities to build housing and community facilities that are based on the prototypes of Ban's other post-disaster work. In a 2013 Ted Talk (below), Ban explains his humanitarian work, which started 20 years ago, when he built shelters made out of recycled paper tubes for Rwandan refugees. https://youtu.be/q43uXdOKPD8 To donate to VAN's current efforts in Nepal, visit Shigeru Ban's website. [h/t ArchRecord]
Shigeru Ban: Humanitarian Architecture Dallas Center for Architecture 1909 Woodall Rodgers Freeway Dallas, Texas Through April 25 The Dallas Center for Architecture is presenting a selection of Pritzker Prize winning architect Shigeru Ban’s disaster relief designs. Ban’s humanitarian architecture has confronted some of the world’s most devastating natural and manmade cataclysms in the last 20 years. The Japanese architect is known for his pioneering designs for United Nations refugee shelters in the mid-1990s, using inexpensive and often recycled materials such as paper tubes and cardboard to make durable, shock-proof structures. Projects on view include the Tsunami Reconstruction Project (2005, Sri Lanka), Onagawa Community Center (2011, Onagawa, Japan, pictured above), Cardboard Cathedral (2013, New Zealand), and Paper Nursery School (2014, Yaan, Japan). Complementing the exhibition is a film screening on April 8 of a 2006 documentary about Ban, Shigeru Ban: An Architect for Emergencies. The film features extensive interviews with the architect about the practical, philosophical, and aesthetic aspects of his work. The exhibition is held in collaboration with Austin College, which will present Ban with the 2015 Posey Leadership Award at the Perot Museum of Nature and Science on March 26.
[ Editor’s Note: The following reader-submitted letter was left on archpaper.com in response to our critique of Shigeru Ban’s Aspen Art Museum (AN 05_10.15.2014_SW). Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email firstname.lastname@example.org. ] Deja vu all over again. Your article is a thoughtful critical review. I add a few observations. It is always interesting when the architect attempts to explain away results by alluding to the client not allowing him to do something, therefore something not so good was done. A knowledgeable client is always a great aid to a project, and unenlightened clients can thwart good ideas, and unambitious clients can have different agendas, but no architect is forced to do something bad. At worst, certain good ideas are not implemented, and when that happens the project design must be rethought so that the result is at least coherent. There is a disturbing tendency these days (shades of Edward Durell Stone) to hide issues of irresolution in buildings by the application of a screen. In this case, it [Aspen Art Museum] fails at hiding the sins and robs the passerby of a sense of scale and what could be a richness of detail. As a result it reminds one of a wicker basket dropped over the top of something else. Moreover, the idea of wood being the only material which can relate to mountains boggles the minds of many, the great Swiss architects not the least of them. The design of the roof space frame is interesting but there seems absent from the result any rational justification for clear span. Museums are marvelous opportunities: a synthesis of light, systems, movement, and modulation of space. Paradise Lost, once more. Harry Wolf Harry Wolf Architect