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.
Posts tagged with "Studio Gang":
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.”
Sales have officially begun for 11 Hoyt Street, Downtown Brooklyn’s upcoming 770,000-square-foot residential tower designed by Studio Gang Architects. The 480-unit curvilinear skyscraper is impressive by virtue of its unique shape and gigantic size; its 57 stories occupy a full city block. Studio Gang founder Jeanne Gang is leading the project, with plans to transform the site of a once-dismal parking garage into one of the tallest and most luxurious skyscrapers in Brooklyn—a modern work of art. The proposed building is noteworthy for its beveled and undulating facade, which differs drastically from the ubiquitous glass skyscrapers that currently populate the area. Each window on 11 Hoyt will be individually framed by the building's precast concrete skeleton, with multiple sections extruding outward to form a diagonal, rippling wave pattern across the height of the tower. When the sun shines down on the facade, it will create a unique play of shadows that will accentuate the building’s animated and flexible appearance, while highlighting its glass and concrete sculptural elements. The project site, bordered on four sides by Hoyt Street, Elm Place, Fulton Street, and Livingston Street, is conveniently situated just blocks away from multiple subway lines. Residents who choose to approach the building by car can enter through the outdoor-landscaped porte-cochere, which connects directly to the main lobby. There are a total of 480 units in the building, with interiors designed by London-based Michaelis Boyd Associates. The smallest studios start at $600,000, and the largest four-bedroom unit is priced at $3,400,000. While the floor plans come in nearly 200 different variations, each unit has ten-foot ceilings and eight-foot-tall windows with spectacular views of the Lower Manhattan skyline, Brooklyn, and Queens. Over 55,000 square feet of indoor amenities can be found at the base of the skyscraper, including a lavish cinema, cocktail lounge, library, performance space, private dining area, study lounge, and virtual game room equipped with a golf simulator. A separate Sky Lounge can be found on the 32nd floor. Perhaps 11 Hoyt’s most notable amenity is its 27,000-square-foot private elevated park located atop the second floor, which will become the largest in all of New York City for any residential building. The landscape, designed by Edmund Hollander Design, will hold a sun deck, fitness area, hot tub, children’s play area, and multiple lounge areas. Next to the private residential park will be the “Park Club,” a massive space that will house a 75-foot saltwater swimming pool and a private fitness center designed by The Wright Fit. “From the world-class design and extraordinary, unique amenity offering to the vast, elevated private park, 11 Hoyt raises the bar in the Downtown Brooklyn residential marketplace,” Erik Rose, managing director of Tishman Speyer, the building's developer, told Yimby. “We are incredibly proud to be launching sales for this unmatched residential product and we know it presents a tremendous opportunity for discerning buyers." The project is expected to be complete sometime in 2020.
Chicago-based Studio Gang has unveiled new renderings for a 40-story housing tower slated for San Francisco’s Transbay neighborhood. Designs for the so-called Mira Tower are inspired by the city’s classic bay windows, which the firm has reinterpreted, stacked, and arrayed around the edges of the faceted tower. In a statement supporting the project, Studio Gang principal Jeanne Gang said, "Reinterpreting the classic bay windows of San Francisco, our design amplifies the dynamic quality of the neighborhood.” The project is among several high-rise towers coming to the neighborhood that is taking shape around the recently-opened Salesforce Terminal and Salesforce Tower complex. The project renderings, first published by Dezeen, show a twisting column of projecting window bays that stagger across each facade of the tower. The window walls are interspersed with glazed balconies along certain areas and are framed by what appears to be white metal panel cladding. Each major surface of the building undulates in a wave-like fashion, with projecting bays oriented generally toward specific vistas. Despite the undulating walls, a crisp corner line is carried up the height of the tower at some of the building’s corners. Gang added, “Spiraling all the way up this 400-foot tower, bay windows create unique spaces in every residence that offer fresh air, expansive views, and changing qualities of light throughout the day." Studio Gang has been steadily increasing the number of projects it is undertaking in California over the last few years. The firm is currently working on a campus expansion for the California College of the Arts campus in San Francisco and a new housing complex that will update the Charles Moore-designed Kresge College at the University of California, Santa Cruz. The firm also recently unveiled plans for a curvy apartment tower that will be located in Los Angeles’s Chinatown neighborhood. Mira Tower is currently under construction with sales efforts to begin in earnest this fall. Tishman Speyer is the developer behind the project.
It’s time to go north of the border as The Architect’s Newspaper checks out some of the highest-profile projects that have been announced across Canada this year. A strong economy has driven construction across the country, and Toronto, in particular, has an abundance of notable buildings breaking ground. From subdued civic structures to prismatic rental towers, 2018 has brought a surfeit of high-profile projects to America’s northern neighbor. One Delisle Studio Gang Toronto, Ontario Studio Gang could end up making a major mark on Toronto’s skyline with its first Canadian project, a 48-story multifaceted tower. The rental building has been designed with 16 sides made up of overlapping eight-story hexagonal modules, and each segment will contain enclosed balconies and be topped with garden terraces for residents. The overlap of the modules resembles scales or the natural spiraling of growing plants, and the effect creates a different view of the tower depending on the angle of approach. An existing 1929 Art Deco facade will be moved over to the base of a neighboring tower, and the base of One Delisle will relate to the historic facade to maintain a cogent street wall. Toronto Courthouse Renzo Piano Building Workshop and NORR Architects & Engineers Toronto, Ontario Renzo Piano Building Workshop (RPBW)’s first project in Canada will consolidate many of Toronto’s smaller courts into a centrally-located municipal building next to the city’s Superior Court of Justice. The building is reminiscent of Piano’s work on the Jerome L. Greene Science Center for Columbia University, both in its boxy massing and in its open ground level, created by raising the base of the building several stories. Despite the courthouse’s wide-open atrium space, the building has been designed with security in mind, and cameras, baggage checkpoints, and internal security corridors will be deployed throughout. The first museum in Ontario to focus on the history of the indigenous justice system will also be located inside. Construction is on track to finish in 2022. The HUB/30 Bay Street Rogers Stirk Harbour + Partners (RSHP) Toronto, Ontario The recently-revealed design for The HUB, a 1.4 million-square-foot tower proposed for Toronto’s South Core neighborhood, is the result of an international design competition for a building that would have a major impact on Toronto’s skyline. The HUB will float over the adjacent Toronto Harbour Commission Building courtesy of a cantilevering base, and create what Senior Partner Graham Stirk describes as 'a harmony' between the two buildings. The use of external structural steel lends the tower a more industrial feeling, and RSHP is promising that the tower will contain column-free office space and a multi-story atrium as a result. Toronto’s Spadina Line expansion stations The Spadina Group Associates and All Design Toronto, Ontario Construction in Toronto is not limited to new towers. Humbler additions to public infrastructure have also been taking shape. Toronto’s largest subway extension in decades opened late last year with six new stations, including two colorful facilities from the late Will Alsop’s All Design. The boxy, zebra-striped second story of the Finch West Station cantilevers over the building's main entrance and is capped with an enormous red window at one end. A concrete 'skirt' floats around the station’s base and offers shelter to riders who are waiting for a bus outside. Inside, Alsop uses touches of color to lighten up the polished concrete interiors. For Pioneer Village, Alsop wrapped the cantilevering station in Corten steel. This station is much rounder than Finch West and uses a red band around the base of the building’s front to direct riders to the main entrance. A geometric canopy rises from the station’s back and creates a covered waiting area for the two regional bus lines that service the station. The same polished concrete seen at Finch West was used inside. Barclay Village Büro Ole Scheeren Vancouver, British Columbia Vancouver has also seen significant growth recently, including the Shigeru Ban-designed hybrid timber tower. Ole Scheeren’s recently-revealed twin towers sit in Vancouver’s West End neighborhood, and according to Scheeren, they use balconies, setbacks, and offsets to create a more welcoming face in contrast to the typical monolithic glass tower typology. All of the terraces are planted, and a rooftop plaza sits on top of the base that links the two towers. Scheeren claims that the driving concept for Barclay Village was to elevate the concept of the village skyward to match Vancouver’s overall verticality. The Winnipeg Art Gallery’s Inuit Art Centre (IAC) Michael Maltzan Architecture Winnipeg, Manitoba This curvilinear four-story museum from Michael Maltzan broke ground in Winnipeg last month, and when complete in 2020, the building will become the largest Inuit art gallery in the world. A double-height glazed atrium at the museum’s base will be anchored by a central 'vault' protected by curved glass, and visitors can freely examine Inuit artifacts as they walk around the ground level. An 8,500-square-foot gallery on the third floor will display Inuit art. The sculptural facade of the building’s stone portion was reportedly inspired by the “immense, geographical features that form the background of many Inuit towns and inlets.” The IAC is an extension of the neighboring Winnipeg Art Gallery, and every floor with connect with the original building.
Studio Gang and California College of the Arts (CCA) have unveiled new renderings for a planned three-year expansion of the school’s San Francisco campus. The renderings offer the first glimpse into how the Chicago-based architects will rework the arts college as CCA moves to consolidate its San Francisco and East Bay campuses by taking over a parking lot adjacent to the original school site in San Francisco’s Mission Bay neighborhood. Renderings depict four rectangular buildings set on an elevated plinth behind the existing school, with a pair of sunken courtyards and lawn spaces populating the areas between the buildings. The concrete-wrapped podium steps down to meet the existing school, leaving a third, block-long courtyard space in between the two structures. The new buildings, according to the renderings, are designed with perimeter circulation wrapping enclosed classroom spaces and feature what looks like heavy timber construction. The buildings are shown with large-scale super truss elements along exterior walls and are topped by solar arrays. CCA’s expansion will also include a residential component by additional architects including Leddy Maytum Stacy Architects that seeks to add up to 1,000 additional beds to the campus’s residential accommodations by 2025. The campus expansion is being designed to house the college’s 2,000 students, 600 faculty members, 250 staff members, and 34 academic programs all one site, as outlined by the school’s “Framing the Future” visioning plan, a scheme developed in 2015 by Gensler and MKthink to guide the school’s next 85 years. Studio Gang beat out Michael Maltzan Architects and Allied Works for the commission in 2016 and the firm is expected to release more information on the expansion later this summer. The full campus is slated to open for the 2020–2021 academic year.