Brought to you with support fromParis-based Hamonic+Masson & Associés has completed a new housing tower that is composed of an angular core wrapped in undulating balconies. The project, titled "New’R," is located in Nantes, a city located in western France, and pays homage to Oscar Niemeyer as well as to the architecture of the 1970’s French Riviera. New’R contributes to an ongoing discussion about building height which according to the architects has become a pressing topic throughout the country. In 2015, the practice completed and delivered Paris’ first housing project measuring over 160-feet since the 1970s. Jean-Christophe Masson and Gaëlle Hamonic, principals at Hamonic+Masson & Associés, said the facade of the project was about connectivity to surrounding flows of the city’s people, cars, and bicycles: “The building’s transparency, depth, and various perspectives engender a dynamism and liveliness around the perimeter of the project, consequently enriching the surrounding environment.” New’R’s massing strategy pairs a simple faceted angular building envelope with outboard curvilinear balconies. Both the facade and balconies are outfitted with aluminum paneling from Italian-based ALUBEL. The building’s volume breaks down into four sub-towers helping to compliment the surrounding scale of the city while providing additional functional rooftop terrace space. The architects say these intermediate landings produce a sequence within the volume of the tower that helps to produce a “graduated system of high-rise living.” The most impactful element of the project, New’R’s guardrails, are composed of two assembly types: an open rail system, and a perforated panel system. Furthermore, plant containers are selectively incorporated into the lower levels of the apartment building. The architects say this variation was contextual, citing higher floors allowed for unobstructed views while lower floors require more privacy. They also add that the building is an observation tower, both functionally, but also—and perhaps more importantly—symbolically. “Living here enables people to understand and appreciate the city that surrounds them: architecture in cinemascope.”
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Joshua Prince-Ramus, principal at REX, has a bone to pick with modernism and its legacy. “For the last 100 years, architecture’s been involved in a silly tension between form and function,” he said. While high modernism privileged function over form, some of today’s top designers argue that architecture is about aesthetics and not much else. REX has a different take: architecture, the firm claims, is both function and form. “We really believe that architecture can do things. It’s not just a representational art form,” said Prince-Ramus. “We talk about performance. Aesthetics are part of performance [as is function.]” Prince-Ramus, who will deliver the afternoon keynote address at next week’s facades+PERFORMANCE New York conference, approaches facade design as an integral part of the design process as a whole. That process, in turn, revolves around a concept he calls agenda. “We set out in our projects to figure out what the project’s agenda should be, then we set out to delimit the constraints,” he said. “Then we try to find the embodiment of the agenda that will fit seamlessly within those constraints.” REX’s current projects include a pair of headquarters buildings for sister media companies in the Middle East. The stone-clad towers are covered in retractable sunshades that reference a traditional Arab Mashrabiya pattern. As an example of how constraints can influence facade design, Prince-Ramus cited the Dee and Charles Wyly Theatre in Dallas. REX (with OMA) slashed the project’s envelope budget in order to build a theater that changes shape to suit different arts events. The money they were left with, said Prince-Ramus, was about what standard aluminum siding would cost—so they started there. “We made a dummy design where we spent a lot of effort trying to not design something aesthetically, but that we’d put it out to the market and uncover what in the market drove costs,” he said. In Dallas that turned out to be weight, since frequent hail storms require thick siding. REX/OMA developed a facade system of extruded tubes that would protect against hailstones while minimizing the amount of aluminum required. “We made something that was very beautiful and very unique,” said Prince-Ramus. “Certainly if we’d come back to the client with flat aluminum siding they would have said, ‘Put the money back into the facade.'...The success of the facade is why we were able to build a building that’s renowned for its ability to transform.” While the Wyly Theatre facade was shaped by financial constraints, the client’s particular vision informed the envelope for the Mercedes Benz Future Center in Stuttgart. “Part of the collective agenda was that the building should be very transparent, as opposed to museums, which tend to be very cloistered,” said Prince-Ramus. But the automaker also wanted the Future Center, which will display its vision for the future of automobile technology, to be “a beacon for sustainability.” REX’s current solution (which may change as the design develops) is to create a curtain-like sunshade that wraps around the all-glass building. The shade is opaque on one side of the building and nearly transparent on the other, and rotates with the sun’s movements. The curtain is a metaphor for the unknowability of the future: Prince-Ramus recalled the uncertainty principle in quantum mechanics, which says that it is impossible to simultaneously determine the value of certain variables. “The more you know of one, the less you know of others,” he said. “In discussions about the future, that idea seemed really inherent in what they’re doing [at Mercedes Benz].” Whatever the origin of a particular facade design, for Prince-Ramus it always comes back to performance, the standard that for him encapsulates both function and aesthetics. “The more we’ve used the word performance, the more I’m convinced it does have that dual meaning,” he said. “When [they] talk about a high-performance auto, they don’t just mean it goes from 0 to 60 in 3.2 seconds. They mean it’s sexy, too.” To hear Joshua Prince-Ramus speak next week, visit the facades+PERFORMANCE New York conference website.