Dutch architecture firm MVRDV has released the first look at the design for its contribution to the new master-planned Mission Rock neighborhood in San Francisco. Called The Canyon, the craggy tower was created in collaboration with the local Perry Architects and inspired by the natural rock formations found throughout California. The 23-story, 380,000-square-foot tower references both San Francisco’s urban grid and its hilly natural landscape, bringing down craggy forms to the flat waterfront, and will feature a variety of offices, residences, and an abundance of open terraces. The Canyon is part of a four-building development being jointly planned by MVRDV along with Studio Gang, WORKac, and Henning Larsen. Each firm was brought on early in the so far 12-year planning and design process to collaboratively devise an overall scheme for the 28-acre site (previously being used for parking), as well as individual buildings that are intended to fit together yet remain each studio's own. SCAPE is also creating a five-acre park for Mission Rock. The neighborhood is being developed by Tishman Speyer in collaboration with the San Francisco Giants, whose ballpark will be set in dialogue with the new towers akin to the approach taken by the Rams and the Colorado Rockies elsewhere. The Canyon is designed to be an entry point to Mission Rock and the “fracture” in its design makes it so that the northeast block acts as a separate building with its own entrance while remaining connected to the other amenities in the tower. The intent, according to MVRDV co-founder Nathalie de Vries was to create a “dynamic design with a great vibe.” Mission Rock is scheduled to break ground in 2020. MVRDV principal Fokke Moerel will be leading the morning keynote, "The Skin is the Message," at Facades+ LA on November 14.
Posts tagged with "Studio Gang":
Brought to you with support fromSince rezoning under the tenure of Michael Bloomberg, Downtown Brooklyn has undergone a tremendous transformation from a relatively low-slung commercial district to a burgeoning neighborhood defined by row upon row of residential towers. 11 Hoyt, located on the southern boundary of the district, is another addition to the area set to be completed in 2020. The tower, developed by Tishman Speyer, is Studio Gang's first residential project in New York City and breaks from the fairly lackluster design typology of the area with a unitized curtainwall of scalloped precast concrete panels. The 770,000-square-foot project rises to a height of over 600 feet and is tucked in midblock—the tower will be ringed by a street-wall podium which is in turn topped by a private park.
BPDL), and measure just under twelve feet in both height and width. The panels are composed of white concrete with a thin veneer of light grey calcite. They are arranged in seven sweeping undulations along the east and west elevations, and three to the narrower north and south elevations, creating diagonal strands of bay windows that protrude from the otherwise flush curtainwall. According to Studio Gang senior project leader Arthur Liu, "the design process and digital design tools helped create a small number of discrete facade elements arranged in a way that offered variation and flexibility to the design of the facade while simultaneously aligning with interior spaces and respecting the limits of constructability." The custom aluminum window systems fabricated by Stahibau Pichler were, for the most part, installed by BPDL into the precast while at the factory. In total, over 110,000-square-feet of glass, produced by Guardian Glass and cut by Tvitec, was used for the project. Prior to the construction of the park-topped podium, the multi-lot space has served as a staging ground for the installation of the oversized panels. The panels are split into two categories; the 22,000-pound "scalloped" panel and the 11,000-pound flat panel. Both are hoisted into position and connected for lateral and gravity support at the floor slab with multiple galvanized steel anchor assemblies. A particular challenge of the project was waterproofing associated with the exposed horizontal precast panels. "The waterproofing had to be applied at the BPDL plant to avoid costly and difficult installation in the field and it had to be done immediately at the time of production without disrupting BPDL's plant workflow," said Gilsanz Murray Steficek Partner Achim Hermes. "Due to winter weather restrictions in Alma, Quebec from October to April, the application of the waterproofing had to be done indoors. That meant it had to occur shortly after the precast panels were stripped out of their forms."The approximately 1155 precast concrete panels were produced by Canadian manufacturer Bétons Préfabriqués Du Lac (
Brought to you with support fromThe most recent addition to an already impressive collection of architectural characters inhabiting New York City’s High Line, 40 Tenth Avenue offers a sculpted massing that will maximize its solar exposure along the public park. The project, led by Studio Gang, is situated between the Hudson River and the High Line, with a primary west-facing orientation. To minimize the afternoon shadow cast onto the park, the architects developed a uniquely inverted, stepped setback shape to the building.
glass. Despite a rather complex massing, the geometry of the enclosure was refined into a canted, diamond-shaped panel, surrounded by triangulated panels set perpendicular to the slab edges. The overall effect is a faceted, three-dimensional version of the architectural corner—perhaps a recasting, or import, of the Miesian corner to one of Manhattan’s most significant public spaces. The project adds to a portfolio of high-rises designed by the Chicago-based practice (which also has offices in New York, San Francisco, and Paris) that explore “solar carving” as a formal and performative strategy. “'Solar Carving’ is one strand of a larger body of research about how we can make buildings responsive to the specific qualities if their context and climate,” said Studio Gang design principal Weston Walker. “To maximize sunlight, fresh air, and river views for the public park, we pushed the building toward the West Side Highway and carved away from its southeast and northwest corners according to the incident angles of the sun’s rays.” A growing issue for the High Line is the diminishing degree of sunlight caused by the development of Manhattan’s Far West Side. According to Walker, the city’s prevailing 1916 Zoning Resolution—legislation that mandated ziggurat-like setbacks to boost ventilation and light for city streets—did not anticipate the proliferation of midblock public spaces such as the High Line. “As-of-right zoning would have endangered rather than protected the park by allowing the tower to be built directly over the High Line.”Clad in a high-performance curtain wall from Italian firm Focchi, the tower integrates 12 types of
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.
Herzog & de Meuron beat out 22 design studios, including Diller Scofidio + Renfro, Johnston Marklee, and OMA, for the chance to design a new building for the Brooks Museum of Art—Tennessee’s oldest and largest art museum—in downtown Memphis. The Swiss firm will work alongside local powerhouse archimania to bring the cultural institution into the 21st century with a new, $105 million facility. Slated to rise on top of a bluff overlooking the Mississippi River, the upgraded Brooks Museum will be part of an ongoing six-mile development aiming to activate the riverfront with parks, walking paths, as well as civic and recreational structures. Studio Gang is at the helm of reimagining the 30-acre industrial site and the museum will serve as its anchor. According to Memphis Mayor Jim Strickland, the chosen site will be a major economic stimulus for the city and signals its embrace of the Mississippi River as its greatest local asset. Herzog & de Meuron's plan for the Brooks Museum, which is expected to be unveiled early next year, will be 112,000-square-foot in size—a quarter larger than the existing facility in Overton Park—and will feature double the amount of storage and art handling space. It will also include expanded public galleries with room for its prestigious permanent collection as well as temporary exhibitions. Classrooms, a theater, a dining area, and a museum store will also be integrated into the design, along with an outdoor sculpture park that’s set to feature rotating public art. In a statement, Executive Director Emily Ballew Neff said the reenvisioned Brooks Museum aims to become a new landmark for the city and she believes the architects will create a “fitting formal response” to the riverfront site and approach the project with “unrivaled sensitivity to materials and craftsmanship.” “Herzog & de Meuron is exceptional among the architectural firms that design art museums for the way it creates galleries for a whole range of art,” she said. “Several architects (at the firm) also happen to have spent formative years in and around Memphis. These team members will provide a kind of local knowledge that will surely contribute.” A strong understanding of this unique western Tennessee landscape will be key in designing the Brooks Museum’s new identity. The building will be constructed on the corner of Front Street and Monroe Street, one block from Memphis’s Main Street to the east and one block from the river to the west. Members of the mound-building Mississippi Culture and, later, the Chickasaw Nation used to occupy the bluff before the Europeans settled the area. In the 19th century, this area served as the city’s old Cotton Row. Today the area is emerging with the rest of downtown Memphis as a major educational, cultural, and business district in which the Brooks Museum is expected to not only spur new development in the urban core, but also attract visitors from all of Tennessee, Northeast Arkansas, and Northern Mississippi.
MacArthur Fellows Jeanne Gang of Studio Gang and Kate Orff of SCAPE Landscape Architecture are teaming up to re-envision the prestigious Arkansas Arts Center (AAC) and adjacent MacArthur Park in Little Rock, Arkansas. Set to break ground this fall, the 127,000-square-foot project—both a renovation and new construction effort—will help clarify the 104-year-old cultural institution’s interior organization, while also amplifying its presence in the historic landscape with a contemporary visual identity. Gang said the firm’s vision will “unlock new connections” between the existing programming on site, which includes a renowned Museum School, Children’s Theatre, and a gallery space that hosts the AAC’s permanent art collection. Since the Center opened on this site in 1937, several major additions have been built. By 1963, the museum had five galleries, four studio classrooms, sculpture courtyards, an art library, and a 381-seat theater, but according to Studio Gang, the AAC suffered from inefficient operational adjacencies—meaning it’s hard for visitors to get from one area to the other. To fix this issue, the design team will create what they call a “stem” that cuts through and “blossoms” to the north and south of the Center. A pleated, thin-plate structure that appears to lightly undulate across the site and into MacArthur Park, the new architecture will not only anchor new visitor amenities but also define a new public gallery and gathering space while simultaneously weaving together the AAC’s various programs. “New daylit spaces linked through the core of the Center will facilitate movement and create a series of vibrant, new public spaces for social interaction, education, and appreciation for the arts,” said Gang in a statement. Initial aerial renderings reveal the way this simple architecture intervention will strengthen the Center’s programming and relationship with the park. Located on the south side of the museum on a current parking lot, Studio Gang has designed a 10,000-square-foot outdoor pavilion underneath the structural canopy with room for dining and respite in the shade. The transparent skin of the structure will provide visitors with a direct connection to nature. In time, SCAPE’s landscape addition, which will include 2,200 linear feet of new paths and trails, as well as 250 trees, will merge with the Center’s canopy to become a parkland forest. Just as important to the revitalization project will be the renovation of all existing facilities on site. Studio Gang will renovate the original 1937 Museum of Fine Arts facade (the AAC’s former name) which serves as the northern entrance. According to the architects, from there they will “excavate” the existing building—a series of fortress-like spaces—by opening up the lecture hall, theater, and studios, among others parts to the new public areas. For example, on the north end, there will be a 5,500-square-foot "Cultural Living Room" that can be both a flexible gathering space or play host to special events. The massive cultural project is being backed by an ambitious $128 million fundraising campaign. So far, $118 million has already been raised, including a $31,245,000 commitment from the City of Little Rock. The new Arkansas Arts Center is expected to be complete in early 2022.
TIME magazine has released its list of 2019’s most influential people, and Studio Gang founder and 2011 MacArthur Fellow Jeanne Gang was the only architect to be included. “Jeanne Gang has the WOW factor,” wrote actress and playwright Anna Deavere Smith, who nominated Gang to the list. “Her stunning Aqua, in Chicago, is the tallest building ever built by a woman…Referring to the growing socioeconomic divides in our cities, Jeanne has warned her profession against ‘sorting ourselves into architects of the rich and architects of the poor,’ and focuses instead on discovering ‘new possibilities for the discipline and beyond.’ And it all started with playing in the dirt and making ice castles. Wow.” The Chicago-based Gang was named in the “Titans” category, where TIME honors those at the top of their respective fields, placing Gang shoulder-to-shoulder with golfer Tiger Woods, Disney CEO Bob Iger, and Facebook CEO Mark Zuckerberg. It appears that the magazine is recognizing one architect every year; in 2018 it was Elizabeth Diller, David Adjaye in 2017, and Bjarke Ingels before that. The only other design professionals singled out this year? Joanna and Chip Gaines of HGTV fame, who were nominated by former quarterback (and current Mets player) Tim Tebow.
After the release of a star-studded shortlist last November and the subsequent proposals in January, the city of Chicago has chosen Studio ORD Joint Venture Partners to design the $2.2 billion O’Hare Global Terminal and Global Concourse at O’Hare International Airport. The winning team consists of Chicago’s own Studio Gang, the international Corgan Associates, as well as local firms Solomon Cordwell Buenz and STL Architects. Studio ORD’s proposal is themed around convergence and features multiple elements that join together in geometrically intricate ways. The terminal’s massing consists of three U-shaped ribbed structures that join in the middle, creating a rooftop “island” and central skylight. Each segment peaks at the center, reminiscent of a mountain. Timber will be used heavily throughout the 2.2-million-square-foot building, as Studio ORD has proposed cladding the underside of each rib, and many elements of the interior, such as the escalators, in wood. Additionally, from the video released as part of their proposal, it seems that the terminal’s interior will be well planted. The team has described their terminal as densely programmed, but easy to navigate, and it appears that the central void below the skylight will anchor the scheme. The O’Hare Global Terminal will replace the existing Terminal 2, which was built in 1963. The new building is part of the $8.5 billion O’Hare 21 expansion, which will modernize the airport and expand its footprint from 5.5 million square feet to 8.9 million square feet. Even though Studio ORD has taken home the design competition’s top prize, the remaining four teams are still in the running to design two new satellite concourses adjacent to Terminal 1. The city will decide on the winner in the coming months. The O’Hare Global Terminal is expected to break ground in 2023.
In recent years, many architects have taken the initiative to design buildings, specifically mid- to high-rise glass buildings, with materials that help reduce bird deaths. It’s a major problem in the United States and one that people are becoming more aware of as recent studies show that hundreds of millions of migratory birds die each year from fatal window strikes. Not only are firms like Studio Gang, KieranTimberlake, and Ennead keeping this top of mind, but Congress is too. This week Representatives Mike Quigley (D-IL) and Morgan Griffith (R-VA) reintroduced a bipartisan bill that would try to prevent bird collisions on new federal buildings. The Bird-Safe Buildings Act would require all public buildings under construction, as well as those acquired or altered by the General Services Administration, to feature bird-safe building materials and designs when at all possible. “Almost one-third of all bird species in the U.S. hold endangerment status, which gives us the responsibility to protect birds from preventable deaths,” said Rep. Quigly in a statement. “By using materials that conceal indoor lighting to the outside, we can dramatically reduce the frequency of birds colliding with glass buildings. With birding activities supporting 620,000 jobs and bringing in $6.2 billion in state tax revenues, this is both an environmental and economic issues with a relatively simple, cost-neutral, humanitarian fix.” The legislation would establish guidelines for public building projects and outline the types of materials most appropriate for glass-clad construction. Through the act, any use of plain glass would only be allowed on the first 40 feet of a building. Only 40 percent of plain glass could be integrated above that height. This isn’t the first time a bird-centric bill has come to Congress. Quigly first brought it up to the House of Representatives in 2010 and has since spread awareness on the topic and advocate for bird safety as vice chair of the House Sustainable Energy and Environment Coalition (SEEC). In addition to Quigly’s efforts, Senator and presidential candidate Cory Booker (D-NJ) also reintroduced a version of the bill, the Federal Bird-Safe Buildings Act of 2017, in the Senate earlier this month. Booker’s bill would require all new federal buildings or renovations be built with at least 60-to-90 percent of non-glass materials. Any glass used would need to be fritted, screened, shaded, or UV-reflective, according to Audubon Pennsylvania. Both bills are backed by animal rights organizations, leaders in sustainable design, and national environmental groups. FXCollaborative, the National Audubon Society, the Lincoln Park Zoo, the Humane Society, and the U.S. Green Building Council, among others, support Quigley’s legislation.
In November 2018, news first broke of the five-firm shortlist competing to design the $8.7 billion Terminal 2 at Chicago’s O’Hare International Airport. The star-studded list held both international and local firms, and today, Chicago city officials have made public designs for each team’s proposal. Chicagoans and frequent fliers have until January 23 to vote for their favorite designs and offer feedback, here. The O’Hare 21 expansion, which will expand O’Hare from 5.5 million square feet to 8.9 million square feet, is a pet project of outgoing mayor Rahm Emanuel. O’Hare currently serves nearly 80 million travelers a year, and with demand projected to grow, the extant Terminal 2 (built in 1963) needs to be expanded. The team of Colorado’s Fentress Architects, engineering and architecture firm EXP, Brook Architecture, and Garza Architects have proposed an undulating terminal with a ribbon-like canopy, held up by slender, full-length columns. A split in the terminal’s massing would allow natural light into the center of the building, a necessity given that the team has stacked more floors into its terminal than the other four. Foster + Partners has been working with local firms Epstein and JGMA, and have produced a dramatically curved, cave-like terminal fronted by an enormous wall of glass. Foster’s terminal resembles a draped piece of fabric swaying in the wind that splits into three separate arched halls at the rear but opens to what they’ve dubbed a “theater of aviation” at the tarmac. The use of a crisscrossing truss system topped with glass creates a coffered ceiling effect while also allowing in natural light. From the renderings, it appears that the terminal’s interior will be clad in a warm wood finish. Studio ORD Joint Venture Partners, the team formed by Chicago’s Studio Gang, Corgan Associates, Solomon Cordwell Buenz, and STL Architects, was heavily influenced by themes of convergence and confluence. Three curves join in the middle to carve out space for a massive central skylight. The roof of each curve, formed from ribs that extend into the terminal’s interior, tent in the center; it appears the underside of each will be clad in timber. The team has described their proposal as one that’s layered but easy to navigate. Skidmore, Owings & Merrill (SOM), who have partnered with Ross Barney Architects and Arup, are proposing ORD, from a shortening of Orchard Field, the original name of O’Hare (unrelated to Studio ORD above). Although their plan is squarer than the others, the SOM team has also designed an undulating roof supported by coffered timber trusses. The roof would cantilever out over the terminal’s tall glass walls, and according to the video, ample landscaping that references Illinois’s nickname as “the Prairie State.” Intriguingly, the terminal would also include enclosed outdoor plazas, complete with tree-strung hammocks, for passengers to relax in. Last but certainly not least, Santiago Calatrava and local firm HKS have presented the most ambitious of the five proposals (though it fits quite snugly within Calatrava’s oeuvre). Resembling a ship’s prow, the glass facade bulges in the center before terminating at a sharp point. Inside, large, unbroken spans are supported by Calatrava’s signature structural “ribs” to create a soaring interior space. The team has also proposed turning the existing parking area to the terminal’s rear into a landscaped “hotel, retail, and business complex,” though there’s no telling how much that would add to the budget. The city and Chicago Department of Aviation are being pushed to make a decision before Mayor Emanuel departs in May of this year, and the project is expected to finish in 2026. Models of each team’s submission can be viewed at the Chicago Architecture Center until January 31, and Terminal 2 will be displaying the new designs digitally until the 31st as well.
Five finalists have been selected in the competition to design the new $8.7 billion expansion of Chicago’s O’Hare International Airport, narrowing the field from the longlist of 12 released in September. The shortlist features a mix of local names and international studios: Skidmore, Owings & Merrill (SOM), Santiago Calatrava, Foster + Partners, Chicago’s own Studio Gang, and Colorado’s Fentress Architects. The expansion, part of a modernization initiative dubbed O’Hare 21 by outgoing mayor Rahm Emanuel, will totally replace the V-shaped Terminal 2, a holdover from the airport’s opening in 1944. O’Hare is one of the busiest airports in the world and currently services nearly 80 million passengers a year, and O’Hare 21 will expand the airport’s footprint from 5.5 million square feet to 8.9 million square feet. Such a large project means that these teams likely won’t be going it alone. Fentress is joined by Brook Architecture, Garza Architects, and engineering and architecture firm EXP, Calatrava will be working with local firm HKS, while Foster + Partners has teamed up with local firms Epstein and JGMA, and Studio Gang has partnered with Corgan Associates, Solomon Cordwell Buenz, and STL Architects. SOM will also be joined by Ross Barney Architects and Arup in their bid. After a review by the Department of Aviation, one team will be chosen to design the Terminal 2–replacing O’Hare Global Terminal, while a second will be tapped to design the airport’s two new satellite concourses. Perhaps what’s most interesting is who didn’t make the cut. BIG was knocked out, as were HOK and Gensler. Even Helmut Jahn, a Chicago wunderkind who designed O’Hare’s Terminal 1 in 1986, wasn’t chosen. Now that the shortlist has been chosen, an official selection committee of business, civic, and transportation leaders from Chicago will choose who ultimately gets to design the new facilities (with local architecture firms and cultural institutions providing technical support). Mayor Emanuel is pushing the city to choose before he leaves in May of 2019, and if all goes as planned, the multi-phase O’Hare 21 should be complete by 2026.
Frank Lloyd Wright’s design for the Guggenheim Museum’s open, spiral atrium is fitting for an institution that’s wrapped up in democratizing art for the world. The space exudes an air of transparency and collaboration that’s translated across the museum's various exhibitions, big and small. What’s not on display are the behind-the-scenes spaces where the Guggenheim Foundation employees dream up the exhibitions seen on the white walls of the iconic mid-century building. For decades, the 200 people employed by the Foundation have sat confined to compact working quarters in a downtown Manhattan office building that inconveniently forced employees to waste time traveling to the Upper East Side museum by train. Now, thanks to an interior by Studio Gang, the Foundation’s new offices match the architectural efficiency of the museum and provide better accessibility all around. Located high up within the former US Steel Building, known today as One Liberty Plaza, the 30,000-square-foot headquarters features a bright, open office-plan that brings together the Foundation’s 18 departments and hundreds of staff members for the first time in the institution’s existence. To create as much room as possible, Studio Gang gut-renovated an entire floor plate in the column-free tower. The design team then integrated various types of workspaces into the design, including single-use cubicles, conference rooms, lounge areas, a reading room, and a canteen, to encourage new modes of formal and casual collaboration. They also outfitted the interior with a muted color palette and chose sustainable materials to regulate noise and heat, creating an overall atmosphere of calm and focus. “One of the biggest problems the Foundation previously faced was that the departments couldn’t interact easily; they physically couldn’t see each other,” said Margaret Cavenagh, principal of interior architecture at Studio Gang. “So we decided to think about the new design as a series of city blocks with anchoring spaces.” Studio Gang placed individual workstations up against the windows or walls, giving employees ample opportunity for daylight, while collaborative spaces and private offices backed up against the core. A main circulation route, going east to west, was placed to serve as a laneway between the two ends and features the Foundation’s massive library and archival collection along its walls. “Once we had this urban-scale street running through the space, corners became plazas, and the open areas and collaborative spaces became easier to get to as well,” she said. Office design is an often overlooked form of architecture, but Studio Gang gave careful planning to each and every detail and kept some of the building's original elements. The original polished concrete gave the floors a clear and clean appearance, which helped maintain the modernist, industrial aesthetic of the structure. The exposed ceiling was amplified in style by integrating ceiling fins made of recycled water bottles from Turf Design. This helped create a unified look above and improve the acoustics. Upon entering the Foundation, Studio Gang displayed a massive model room, Cavenagh’s favorite spot. It features splayed-out models of the Guggenheim Museum itself, where curators and designers create mini mock-ups and layouts for exhibits. This sets the tone for an active, but manageable mood within the spacious environment. In the old office, employees used to be stepping over each other and there wasn’t room for quiet work or loud collaboration; the new office gives employees the best of both worlds. “We’re always doing interiors work thinking holistically about the space as an extension of architecture,” said Cavenagh. “We’re passionate about how we build for the future. The Guggenheim is stepping into a new chapter of growth and we hope this office will help them work smarter and feel better about their daily environment.”