For weeks we've been hearing murmurs about the hottest RFQ in California: the UC Santa Cruz Insitute of Arts and Sciences, a hilltop museum, research center, and innovation hub on one of the most beautiful campuses in the country. Finally the shortlist has been announced, and it features a group of very heavy hitters from around the country. The shortlist includes Steven Holl with TANNERHECHT; Tod Williams Billie Tsien with TEF; wHY design, Allied Works Architecture, Aidlin Darling Design, Jensen Architects with Ann Hamilton; and Fong & Chan with Patkau Architects. The list was culled from a group of 39 companies, and will be further slimmed to three by April. "We were delighted in the quality and the range of firms," explained the Institute's director, John Weber, who noted that the school was looking for design teams of varying scales and sensibilities. "We want to find the right partner to push us on how the building can respond to the mission of the Institute," Weber said. "The desire to have something like this has been around for a very long time, but it came into focus in the last couple of years," said Weber. The Institute's museum will contain interactive exhibits on topics ranging from climate change to cancer research, and the facility as a whole, measuring 27,000-31,000 square feet, will contain research and teaching facilities, seminar and conference spaces, study areas, a cafe, and more. "The vision is to engage the issues of our time through the arts, sciences, humanities and technology based on research here at UC Santa Cruz and bringing in material that complements and pushes what’s going on here," said Weber. The site, he added, is "really spectacular," wedged between a forest of Redwoods and Ancient Oaks above and a grand meadow overlooking the Pacific below. There will be a public presentation of the final three teams' schemes on April 3 at UCSC. The $32-40 million project's completion date will depend on ongoing fundraising, added Weber.
Posts tagged with "Allied Works Architecture":
Allied Works communicates with project collaborators Arup Daylighting via SketchUp plugins.When Joe Esch, Brad Schell, and a small group of AEC and CAD industry veterans launched SketchUp nearly 13 years ago in Boulder, Colorado, many of the 3D modeling tools on the market had been developed for the entertainment industry. Google acquired the company in 2006, and Trimble bought it in 2012, yet in spite of these changes in ownership, the team has continued to develop SketchUp into an intuitive design-build program to develop sketches and 3D models for the AEC industry. With its user-accessible Ruby API (application programming interface), the generic modeling program of yesteryear has become a full-blown, application specific design tool capable of detailing architectural projects faster and cheaper than in the past. In addition to the program’s capabilities that facilitate 2D drawings and 3D models, the latest release of the software—SketchUp Pro 2013—includes a categorized selection of plugins organized within the new Extension Warehouse. According to John Bacus, product management director at Trimble for SketchUp, a study conducted several years ago revealed 45 percent of SketchUp users had used plugins, but without an organized search and retrieval system those benefits were underutilized. “There was some chaos in that world, with people writing extensions that didn’t perform particularly well,” said Bacus. A team of developers has worked to compile and format 167 extensions that have been downloaded more than 200,000 times since its release less than two months ago. Portland, Oregon–based Allied Works Architecture has embraced these specialized plugin capabilities. The firm relies heavily on SketchUp’s modeling capabilities, in addition to a regular cache of plugins. Brent Linden, director of Allied Works’ New York office, noted how the flow of programming through the buildings they design is easily made the focus within SketchUp. “Since the design process of the Clyfford Still Museum, we’ve moved away from rectilinear into curvilinear,” said Linden. “When you add curves to rectilinear order, space can continue to flow through structure and the Curviloft lofting tool made that possible for our whole team.” The extension was instrumental in developing the perforated concrete ceiling, one of the museum’s most distinguished features. Lessons learned in lighting design from the Clyfford Still Museum have also been applied to the firm’s work on the Spaulding Paolozzi Center, a new project currently underway for joint use by Clemson University and the College of Charleston. For both projects, Arup provided daylighting consulting services. “We’re trading SketchUp models of individual perforations and the span of a wall so the amount of daylight being mitigated is where we want it to be,” said Linden. “Arup first gave us a CAD file, we made a 3D model in SketchUp, and now we’re communicating through that program.” In addition to the capabilities of distinct extensions, Linden praised SketchUp for its wide adaptability across his entire team and the speed at which it can be learned. Even as new people come into the Allied Works office and introduce a host of different modeling tools, they can all find common ground in SketchUp. “On the fly, sitting as a team and walking through a 3D model, we can push and pull walls or edges, and change the way the form looks inside and out. Its speed has lent it to being an iterative design form in our process.”
The University of California Davis is becoming a cultural force. The school already has three art museums (and arts alums include artist Bruce Nauman and sculptor Deborah Butterfield), and is getting ready to add another, just releasing the shortlist for its new Jan Shrem and Maria Manetti Shrem Museum of Art. The list is impressive, including the following design/build teams: wHYArchitecture and Gensler with BNBT Builders; HGA and DPR; Allied Works with Hathaway Dinwiddie; Westlake, Kitchell, WORK; Gould Evans, Henning Larsen, Oliver; Olson Kundig, Olveraa; and Bohlin Cywinski Jackson, SO-IL, Whiting Turner. The list was culled from an initial list of 19. The 40,000 square foot museum, located on a 1.6 acre site that is part of a long-range master plan for the university’s new south entrance, is slated for completion in 2015,
Corey Martin, co-founder of Portland-based PATH Architecture (we featured their Butler Residence in our pages a little while back) has left the five-person firm to become a principal at 45-person Portland firm THA Architecture. Martin worked at Richard Potestio and Allied Works prior to starting PATH in 2005 with partner Ben Kaiser. The firm has gone on to produce critically acclaimed projects ranging from the Park Box multi-family residence to a locker room for the University of Oregon. Martin is excited, but a little sad about leaving a firm that was still experiencing high levels of success. "I'm still torn up about it. It's the hardest decision I've ever had to make," he said, adding that he's still unsure of PATH's future. "It will continue in some form," he said, although that might mean merging with Kaiser's development-related firm, the Kaiser Group. One of Martin's goals is to raise the design bar at THA even higher: "I look forward to building on THA's amazing design legacy," he said. He noted that the firm sought him out not only for the quality of his architecture, but for his ability to bring in new clients and to get people excited about his work. "They've put a lot of trust in me and I hope I can exceed their expectations," he said.
Still Life. Fast Company previews Brad Cloepfil/Allied Works Architecture's design for a new 28,000 square foot Clyfford Still Museum in Denver, which will hold 2,400 works from the artist's estate. Suzanne LaBarre writes that Still's will stipulated "that his estate be given, in its entirety, to an American city willing to establish a permanent museum dedicated solely to his artwork." Melting Pot. Bloomberg reports that, based on latest Census numbers, New York is back to being the most diverse city in the U.S., beating out L.A. The Italian-American Brooklyn neighborhood of Dyker Heights takes the prize for the biggest shift, with a 31% increase in Asian residents since the last Census. Scan this! In case you missed it, this week MVRDV released renderings for a mustard factory turned call center in Dijon, France, with an intriguing facade composed of QR tags, via Bustler. New Mad Men. Tommy Hilfiger and his real estate partners buy the old Met Life clock tower on Madison Avenue with plans to convert it into a hotel, writes The Wall Street Journal. Meanwhile, in the Meatpacking neighborhood, Hilfiger's weird preppy pop-up cottage stays up through Sunday.
When CAD rose up in the '80s and began replacing hand-drawing as the preferred means of rendering architecture-to-be, practitioners began decrying the death of the field. Obviously that was not the case, but in our increasingly digitized age/culture/lives, where sexy renderings predominate (to the cost of real architectural discourse, some might say, and probably rightly) on blogs and, uh, architectural websites and beyond, videos are becoming an increasingly important component of the process of placemaking. Or at least competitionwinning, as the above video by SPF:architects shows. When we first turned it up on Curbed today, we were taken aback by the lengths (some might call it desperation, but in these hard times, who can blame them) the firm had gone to to convince the judges of the worthiness of their entry in a competition to design Calgary's new Cantos project, billed as the only "national music centre" in Canada. Turns out, though, all entrants had to produce a video, including Diller Scofidio+Renfro, allied works architecture, Atelier Jean Nouvel, and the lone Canadian firm, Montreal's Saucier + Perotte. Since the LA-based SPF's is naturally Hollywood flashy, how do the other four stack up? Hey! We recognize that cut-out. Rip off! Playing the buildings? Where have we seen that before? For a Pritzker Prize-winner, this sure is chintzy. Dig the tunes.
While unlikely to receive the scrutiny or attention of the Museum of Arts and Design in New York, the new addition to the University of Michigan Museum of Art is something of a return to form for Brad Cloepfil and Allied Works. The extension is uncompromisingly modern, tasteful, light-filled, and restrained enough to be a good neighbor to its beaux arts other half. The Detroit News sings the project's praises, and says that the museum now displays ten percent of its collection, up from a mere three percent prior to the expansion. With at least four museums now under his belt, Cloepfil has become a home grown Renzo Piano. The UMMA addition is likely to expand his reputation further. Next up, the Clifford Still Museum in Denver.
Few buildings have sparked as much architectural criticism as Two Columbus Circle, the new home of the Museum of Arts and Design (MAD). Brad Cloepfil's firm Allied Works has designed the new museum, set within the bones of Edward Durrell Stone's old building. Critical reaction has been split, though the MAD haters seem to outnumber the fans. In the haters column: Nicolai Ouroussoff, who called the building "poorly detailed and lacking in confidence"; the now shuttered (sorry neocons) New York Sun's James Gardner, who called it "emphatically not good"; and Christopher Hawthorne of the Los Angeles Times, who deemed it "schoolmarmish." Ouch. Among the fans and apologists: The New Yorker's Paul Goldberger acknowledged Cloepfil's difficulty in dealing with Stone, when he wrote, "rarely has an architect been pulled so completely in opposite directions,” but he added that the interior is “functional, logical, and pleasant to be in”; Blair Kamin, in the Chicago Tribune, offered mild praise when he wrote that the building, "while no masterpiece, turns out to be a better example of architectural recycling than its critics predicted"; the project's strongest defense came from the keyboard of Bloomberg's James Russell, who called the museum a "work of subtlety and substance." In a second piece, Ouroussoff called for the building's demolition, prompting blogger CultureGrrl at artsjournal to write, "it's time to demolish Ouroussoff." The woman arguably at the center of the debate (and the debate about the debate), Ada Louise Huxtable, is notably silent to date. Will she take up the subject once again?
By the time we realized there were no water taxis headed uptown and took the A train, instead, the Museum of Arts and Design's opening day press conference was almost over and only a few diehard journo's (Christopher Hawthorne, Robert Campbell) were still lurking around to talk to museum architect Brad Cloepfil of Allied Works Architecture (above in the catbird seat) about winning the four-year fight to turn a playboy's private collection housed in crimson and burled panelling into a high-tech cabinet of craft curiosities. Asked what he thought about the space now that it's chock-ablock with the kind of severe white (though some are black) Fort-Knox-style display cases favored by the downtown design store Moss, the architect said, "They have to learn how to play the instrument." Sliding Signage by Pentagram Cloepfil said this curvey vase by Eva Held has "profoundly influenced" his design approach for the Clyfford Still Museum in Denver, now in design development.