British firm Hopkins Architects (formerly Michael Hopkins & Partners) has been granted planning permission from local authorities to build the new Smith Campus Center for Harvard University in Cambridge, Massachusetts. Hopkins was selected for the project back in 2013, but plans are now becoming clear with new renderings of the project. Included in the plan are shopping areas, cafes, and student exhibition areas. These areas will look out onto the open space laid out in front of the building, while sitting alongside and sheltering the study spaces inside. Such a scheme creates a defined hierarchy within the structure. Outdoor social space is separated from the quieter, more formal areas of study via the threshold of shopping, cafe, exhibition spaces, and reception area. The plan will become part of the Josep Lluis Sert's 1960s design for the Holyoke Center. Joining onto the exterior facade (as seen in the pictures) will be a steel structure, clad mainly in glass with softwood and concrete interior. After being appointed to the project in 2013, Hopkins Architects' vision for the Smith Campus was formed after asking students, faculty and staff about what they thought the campus should be. An exhaustive study into this comprised public meetings, over 25 focus groups, and almost 6,000 responses to University-wide survey. “One of our key design objectives was to ensure that the building engages the vibrancy of all of Harvard Square,” said Tanya Iatridis, senior director of University planning, speaking to the Harvard Gazette. “The new Smith Campus Center will embody the aspirations and values that we hold dear and seek to preserve. It will draw us together more closely, strengthening the sense of community at Harvard by encouraging spontaneous interactions among students, faculty, and staff, as well as members of the broader community,” Harvard President Drew Faust told the Harvard Gazette. “While plans are not yet final, and we have more feedback to gather, we are all pleased with the project’s direction and progress.” Joining Hopkins will be U.K.-based firms, Arup on the engineering team and Faithful + Gould as project management consultants. It won't be an all British show however, as U.S. practice Bruner/Cott will be executive architect and Cambridge firm Michael Van Valkenburgh Associates will serve as landscape architect. The project is expected to break ground later in 2016 with the new campus expected to open in 2018.
Posts tagged with "ARUP":
Architects have long relied on engineers to help execute formally or functionally complex concepts. But, as Belzberg Architects founder Hagy Belzberg points out, "architects usually work out a schematic design" in response to a client's needs, "only later to invite the engineer to help substantiate their idea." Belzberg's own experience collaborating with facade engineers at Arup suggests a different approach—one in which the designers and consultants trade ideas and expertise from the very beginning. With Arup's Matt Williams, Belzberg will outline some of the benefits of a close association among AEC industry professionals through two cutting-edge case studies at next week's Facades+ LA conference. Belzberg and Williams' dialog workshop, "Process Shaping Design: Design, Digital Fabrication, and Delivery" is organized around two projects with distinct origins. The first is the Gores Group Headquarters (9800 Wilshire Boulevard) in Los Angeles. "The building will be a case study in how adaptive facades can help us reappropriate existing buildings so we don't have to knock them down," said Belzberg. Digital fabrication technology, he explained, allowed Belzberg Architects to craft a new envelope that is "highly sculptural and unique, but still performative." The second case study examines a series of commercial buildings in Mexico City. "It's the same digital fabrication on a new building," said Belzberg. In contrast to the more typical approach, Belzberg Architects brought Arup on board before touching pencil to paper (or hand to computer mouse). "What we're trying to promote is a case study in which we brought in the engineers on day one, so it becomes more performative, more efficient, and even more cost-effective," said Belzberg. Besides sharing some of their own work, Belzberg and Williams hope to use the workshop to dig into other examples—cases contributed by the participants themselves. "No one's going to have to do any homework, or any sketches," said Belzberg. "But we want people to come in with case studies of their own that we can work on: Not just questions and answers, but we're hoping that other architects will bring real-life scenarios so that we can brainstorm opportunities. It's not just about our work, but an opportunity to discuss audience case studies." To sign up for "Process Shaping Design" or another lab or dialog workshop, register today for Facades+ LA. Learn more and review the symposium agenda on the conference website.
First there was the Grand Park, then Pershing Square decided to spruce things up with a design competition, and now four competing schemes for a third Downtown Los Angeles park were presented to the city in a public meeting this week. The proposals were from teams lead by AECOM, Brooks + Scarpa, Eric Owen Moss Architects, and Mia Lehrer + Associates with OMA and IDEO. The two-acre First & Broadway Civic Park will take over a full block in the heart of the L.A.’s Civic Center near City Hall and the Gordon Kaufmann’s Art Deco Los Angeles Times building. The overall greening of Downtown Los Angeles is consistent with its ongoing renewal. As such, each of the teams provided ample amenities in the park—canopies, cafes, music venues, movie screens—in addition to the standard fare of gardens, trees, and benches. AECOM’s proposal takes iconic modernist landscape architect Garrett Eckbo’s 1946 Landscape for Living as a starting point, and then updates his California dream to be a collective experience. Hints of fifties modernism show themselves in the irregularly shaped lawn, which is framed by “The Wingnut,” which houses a gallery, and a 200-seat restaurant “The Paper Plane.” Undulating ribbons—green space above, amenities underneath—define Brooks + Scarpa's plan. The team suggests that the scheme is ecological with drought-minded plantings and integrated terraces and cisterns that lead to an expansive dry well. Hidden within the proposal is some programming sure to excite the design community: the Architecture and Urbanism Festival, a possible 3-month long curated event that would include temporary installations and public programs. Eric Owen Moss Architects, never a firm to shy away from odd forms, proposed a large cocoon-like structure dominates a rolling and grassy green space. Ready to compete with the nearby crowning towers of City Hall and the Times, EOM’s event pavilion seems equipped to screen films and host events. Mia Lehrer + Associates powerhouse team also includes OMA, IDEO, and Arup, among others. Their proposal takes food as its design driver. While the scheme shows a central paved plaza and side gardens lush with alien-ish shade canopies and mature trees, the main emphasis is on a multi-use pavilion building that includes a beer garden, a test kitchen, a restaurant, and an amphitheater. Presentation boards and models of the designs are on public display at the Department of Building and Safety at 201 North Figueroa.
Zaha Hadid, with Arup and Mello Affonso Engineering, is executing her first project in South America. Casa Atlantica is a luxury residential building in Copacabana Beach, Rio de Janeiro. According to ARUP, Casa Atlantica was originally planned as a luxury hotel but changed to a residential building in order to meet the region's urban standards. The client, Brazilian entrepreneur Omar Peres, gave Hadid complete design liberty. She was, however, governed by strict requirements on height and proximity to neighbors. Zaha Hadid Architects' explained their response to these constraints: "Working within site restrictions governing the height and distance from adjacent buildings, Casa Atlantica's design establishes a fluid order defined by its structure which morphs and expands at each level to create balconies, while also dividing each floor into separate residential units." Casa Atlanta will be 18,000 feet-squared, have 12 floors, feature a rooftop swimming pool, and reach approximately 130 feet in height. Construction is set to begin in March. For further information, visit Zaha Hadid Architects' project page here.
The two 10-story towers are clad in white metal and clear glass, carefully balanced to reduce solar heat gain and provide a sense of lightness.Samsung’s new North American headquarters, designed by NBBJ, is a landmark facility in Silicon Valley embracing new urban guidelines developed by San Jose officials to prioritize active streets and environmental sensitivity. The project creates a sense of lightness with a transparent, environmentally responsible facade, and has been used as a case study project within NBBJ’s international network of offices. The compound is composed of two ten-story towers designed around an interior courtyard and floating open-air gardens. The architects adopted the diagram of a semiconductor as inspiration for the building, defined by an energized void space between separated slabs. Connecting stairs located at every two floors establish a centralized “3-D Main Street” linked by pocket parks. The ground floor extends an open public program into the adjacent city, providing a connection to the tech community. Despite working in a ten-story office tower, Samsung employees are never farther than one story from outdoor space. Utilizing a courtyard typology to maximize daylight and natural ventilation into a flexible open office layout, the project anticipates LEED Gold certification. The facade system for the facility plays a significant role in the project, achieving three key functions: encouraging social interaction, communicating a brand identity, and sensitively responding to the environment by incorporating renewable energy and managing solar conditions. Rather than designing an all-glass facade, NBBJ developed a white metal, glass, and terracotta exterior with an undulating gradient of punched window openings responsive to environmental criteria. For example, the building orientation is aligned to San Jose’s city grid, which is rotated off a north-south axis, causing direct heat gain to be managed across multiple facades. This assisted with solar heat gain concerns and established an aesthetic identity for Samsung’s headquarters. The interior facade is noticeably more transparent, utilizing a floor to ceiling glazing system. Collaborating with ARUP, NBBJ designed the facade to be a shop-built assembly—it was craned into place, ensuring a high-quality, controlled assembly process. The architects teamed with Benson, who fabricated the facade panels. The building is formally very simple, but becomes activated by people, fostering a collaborative environment. This is a “generative” building, designed for flexibility to allow for as many new ideas as possible. A collaborative, interactive spirit drove the project’s design from the start. The outcome is an open, tolerant, flexible building that enables possibilities and drives innovation.
In an attempt to salvage the now-scrubbed project, Zaha Hadid has released a new video in defense of her firm's design for the 2020 Tokyo Olympics Stadium. The film presents a robust—albeit familiar—argument for the reinstatement of the building. Once the bona fides of the project team (which includes Arup Sports) are revisited and a sensitivity to Japanese culture is declared, the oblique blame game begins. https://vimeo.com/137299144 Citing the substantial investment that's already been made in developing the project, Team Hadid suggests that the construction bidding process be restarted, in an attempt to reduce the estimated $2-billion-plus cost to erect the stadium. From the video: "To start the design from scratch is an unnecessary risk, which we think the government should reconsider if its aim is to achieve a lower price...we believe the answer is to introduce more competition between the contractors, but not to lose the benefits of the design." So far, there has not been a response to the video from Olympics officials.
Vincom Landmark 81, a massive skyscraper project in Ho Chi Minh City's lavish Vinhomes Central Park represents a collaboration between architects and engineers at Atkins and Arup. Developers at Vietnam-based Vingroup recently broke ground on the complex and when it's completed, the tower will be Vietnam's tallest at over 1,500 feet tall Located on the banks of the Saigon River, the 81-story, mixed-used development will feature a luxury shopping center at the base of the tower, residential apartments, a hotel, and a few rooftop gardens. Its design, as stated on the Atkins website, "features a modern and unusual architecture design that symbolises the diversity and fast-emergence of Ho Chi Minh City." The varied heights of the structure's numerous masses and its glistering glass facade give the tower an icicle effect and allow the building to taper as it rises into the sky. At the top of each setback mass, a rooftop outdoor terrace will provide sweeping views of the surrounding city. Landmark 81, according to Atkins, is expected to be complete in 2017. "Our challenge was to create a unique and dynamic landmark tower design to support Vingroup's vision for a high-end mixed-use development," said Bertil de Kleynen, director of architecture and landscape for Atkins in the Asia Pacific region in a recent article. "The tower is integrated into the public realm that addresses sustainable design challenges at various interfaces of the project."
Curved metal facade embodies spirit of mobility at LAX.The commission to design a new Central Utility Plant (CUP) for Los Angeles International Airport (LAX) came with a major caveat: the original 1960s-era CUP would remain online throughout construction, providing heating and cooling to adjacent passenger terminals until the new plant was ready to take over."We had to keep the existing CUP up and running, build the new one, do the cutover, then tear down the old CUP and build a thermal energy storage tank in its place," explained Gruen Associates project designer Craig Biggi. "It was a very challenging project from that standpoint—working in a 24/7 environment, and getting everything up and running within a small footprint." But despite these and other hurdles, the design-build team (which included Clark/McCarthy, A Joint Venture as general contractors, Arup as A/E design lead, and Gruen Associates as architect) succeeded in delivering the new CUP in time to support LAX's newest terminal. Its curved stainless steel and glass facade captures the airport's spirit of mobility, and helps restore a sense of cohesion to an otherwise fragmented built landscape. LAX is a busy place, both aesthetically and with respect to passenger movement. "There's a lot of visual activity happening there," explained Biggi. "It's been built up over time, so there's this layering effect. This was meant to be an architectural design that not only simplifies some of the visual confusion, but addresses the context of the airport itself as a site that has a lot of movement." When shaping the building envelope, the designers looked at concepts of laminar flow, of which one example is the passage of air over an aircraft wing. "What we came up with was a streamlined architectural expression that ties together three distinct programmatic elements," said Biggi. "The project uses this expression to tie into the existing context by flowing around corners, then opens up at certain locations to allow the program to have ventilation and views." The CUP's primary facade is clad in stainless steel composite panels within a pressurized rain screen system. The architects chose stainless steel, explained partner-in-charge and project manager Debra Gerod, to respond to the potentially corrosive effects of jet fuel and other chemicals as well as the salty Southern California air. In addition, "we had to work to get a finish that wouldn't create reflections," said Gerod. "We're right underneath the control tower. Being mindful that the sun can be at any angle, bouncing off airplanes, that [became a] careful performance-based element" of the design. Non-curved sections of the CUP's envelope feature corrugated aluminum panels, which reduce the risk of reflection and help camouflage functional components including large doors that allow the installation and replacement of equipment. "How we were able to put these giant openings into the side of the facade and have it be blended in and aligned with the corrugated metal paneling—these were some of the things we really paid a lot of attention to," said Gerod. Similarly, the ribbon windows on the stainless steel facade help conceal exhaust louvers, in addition to providing views from the engineers' offices. "We always looked at opportunities for streamlining the aesthetic of the exterior," said Biggi. "We were looking for simple massing that looked fluid in its resolution." Gruen Associates designed the new CUP as a visual landmark for passersby, installing a massive window on the north facade in order to reveal the interior of the chiller room. "This is a bit of an homage to the old CUP," explained Gerod. "When it was first built, it was a really nice building: round, with lots of glass. By the time we got to it, things were spilling out in all directions. But as originally designed, it had a view into the inner workings of the plant." Meanwhile, the architects used blue-colored LEDs and reflectors moved by the wind to create a lighting effect on the adjacent thermal energy storage tank—which, like the nearby cooling towers, is also clad in stainless steel—that mimics the rippling motion of a swimming pool at night. "The lighting effect is meant to address passengers as they're driving down Center Way, and give some animation to the large mass of the storage tank," said Biggi. Here, too, the designers were careful to plan the lighting so as not to interfere with air traffic control functions. LAX's new CUP, which is targeting LEED Gold certification, promises a 25 percent increase in efficiency over the 50-year-old plant it replaces. With continued expansion in the offing, it did not arrive on the scene any too soon. Though much of the design was shaped by current conditions at the airport, including both functional considerations and an aesthetic embrace of the airport's hectic pace, Gruen Associates simultaneously thought ahead, to a larger—but hopefully visually more coherent—LAX. Should a proposed terminal extension to the west come to pass, the CUP's curved stainless steel facade will provide a backdrop for the newer buildings, setting the stage for a more deliberate approach to the airport's ongoing transformation.
British architect Amanda Levete reveals weather-responsive "forest canopy" design for Melbourne's MPavilion 2015
Seeking to recreate the audiovisual experience of a rainforest within urban environs, London-based architect Amanda Levete has unveiled a weather-responsive forest canopy for Melbourne’s 2015 MPavilion. The second-edition annual pavilion, set to open in October at the Queen Victoria Gardens, is Australia’s answer to London’s emblematic Serpentine Gallery Pavilion. The Stirling Prize winner and founder and principal of architecture and design studio AL_A used the latest nautical engineering technology to convincingly mimic the phenomenology of flowers swaying in the wind for an experience somewhat resembling an ant’s world. Levete’s design consists of a series of bendable carbon-fiber poles supporting a roof of translucent, “seemingly fragile” petals made from composite materials she created through tête-à-têtes with a yacht fabricator. Each one measures 10–16 feet wide and is less than 0.4 inches thick. The petals moonlight as speakers that can record and playback the daily soundscape that occurs beneath the canopy. These amplifiers are then wired seamlessly through carbon-fiber poles. By night, LED lights enhance the “dappled and dreamy” ambiance. The performance space within the pavilion will be oriented to play up views of Melbourne’s skyline to the north—which could potentially include a Beyoncé-inspired tower soon—and a treeline to the east. “Our design subverts the norms of immovable. It embraces and amplifies such distinctions, so that it speaks in response to the weather and moves with the wind rather than trying to keep it at bay,” said Levete. Joining her on the project team are Australian manufacturer mouldCAM, builders Kane Construction, and engineering firm Arup. Initiated by the Naomi Milgrom Foundation with support from the City of Melbourne and the Victorian State Government, MPavilion is a free four-month program of talks, workshops and performances by creative collaborators. The inaugural pavilion by architect Sean Godsell, which attracted more than 640,000 visitors to 317 free events, featured walls that lifted up on pneumatic arms in resemblance to a “blooming flower.” Unlike the Serpentine Gallery Pavilion, which stipulates that the designer must not have previously built anything in the country, MPavilion—set to run from October 6, 2015 to February 7, 2016—requires only that the candidate be an “outstanding architect.”
Italian football giant AC Milan is relocating to what the club purports as “the world’s most innovative stadium” in the city’s Portello area. The new mixed-use facility will be slightly over half the size of the team’s current 80,000-seater San Siro stadium, which it shares with fierce rival Intel. Flagging spectator turnout in recent years has incentivized several Italian football clubs to occupy downsized stadiums. In the 2013-14 season, AC Milan averaged just 40,061 spectators and half-empty bleachers. The club selected a design team consisting of architecture and design firm Arup and Italian architect Emilio Faroldi, who studied 70 stadia around the world as part of the design process, absorbing ideas from the Emirates Stadium in London, the St. Jakob-Park in Basel, and the new San Mames stadium in Bilbao. Given initial protests by Milan residents over the club’s relocation, Faroldi’s onus was to create a minimally invasive design with the aesthetic of a building rather than a hulking sports facility. Thus the first 33 feet of the stadium will be sunken underground, with the building peaking at just 98 feet. Aspiring towards a multi-use stadium that remains operational on non-matchdays like those in the UK, the facility will include a hotel, sports college, restaurants, courtyard and rooftop green areas, a children’s playground, and public art spaces. “Scientific research, through a series of studies, tell us clearly that the role of arenas in Europe and the world is gradually changing,” Faroldi told Italy’s La Gazetta dello Sport. “The stadiums are no longer meant just as a place for sporting events, although open all week, but as a useful piece to reorder the outlook of a neighborhood, a city.” The architect aimed for fewer turnstiles and fewer barriers between fans and the stadium, proposing to supplement these distancing reinforcements with heightened security. AC Milan recently mobilized to tout the benefits of the new stadium to the public, such as escalated land value and the creation of 1,000 jobs during construction and 500 jobs thereafter. The club emphasized the incorporation of state-of-the-art sound-proof materials for near-zero noise pollution and minimal visual impact, as well as the stadium’s integration with public transportation systems. AC Milan hopes to move into its new stadium by the beginning of the 2018–19 Series A season.
Starchitect Renzo Piano has vowed to soldier on with mega-sized plans for a Jurassica Resort on England's island of Portland in the English Channel, despite being denied a $24.5 million bid for Heritage Lottery Funding (HLF). “The project is now continuing into development without an HLF development grant,” a spokesman for the project told Architect’s Journal. Jurassica’s backers said they will re-apply for the grant and are not acquiescing to appeals for a downsize. The brainchild of science journalist Mike Hanion, Jurassica Resort will be the world’s largest immersive prehistoric environment. Although designed with a museum’s vital organs, the facility itself is essentially a limestone quarry 132 feet-deep beneath a translucent glass roof supported by the quarry walls. The building itself is designed to be “more or less invisible.” Beneath the glass is a Jurassic-period coastal cove, where visitors will walk beneath towering cliffs, sea-stacks and arches covered in exotic trees, past a living reef festooned with corals and patrolled by sharks and stingray. Those with the tenacity can venture into a forested ravine where the “dinosaurs” rove. Animatronic dinosaur displays, an aquarium, and swimming plesiosaurs are just a few of the promised wonders. The subterranean dinosaur museum will be located on Dorset’s Jurassic coast, a UNESCO World Heritage Site comprising a 95-mile stretch of cliff distilling 180 million years of geological history. “We will pick a specific period in prehistory and everything you see will be both realistic and an accurate representation of the plants and animals that were alive during that time,” said David Lazenby, Creative Director of Azureus Design, on board for the exhibit design. “The Jurassic Cove will not be a theme park display but a spectacular and precise snapshot in time that will bring the heritage of the Jurassic Coast to life.” Hanion believes the park could draw 800,000 visitors regularly and employ approximately 200 people. Yearly revenue of $30.3 million for the local economy has also been estimated. Project managers are intent on securing alternative funding, with the goal of opening Jurassica Resort by 2019 or 2020. “At £16 million ($24.5 million), public funds from HLF were always only part of our funding strategy for a project costing some £80 million (around $122.6 million),” said the spokesman. “We have applied to and will apply to scientific trusts and other grant-giving bodies both in the UK and overseas, and have already attracted financial support from business and HNWI based locally and nationally.”
Winners of the Atlanta Bridgescape Competition were announced last week at the AIA Conference that was held in the city. The competition, launched earlier this year, asked multidisciplinary teams to reimagine two of Atlanta’s outdated bridges with a budget of about $3 million. Hometown designers Max Neiswander and Luke Kvasnicka won with (sin)uosity, their plan to remake Midtown’s 10th Street Bridge with plantings, fresh bike lanes, and a curving, ribbed shell. Roger DeWeese, head of the Atlanta-based Peachtree Architects, also earned top honors with Organic Canopy, a vision to top Courtland/McGill Bridge with a geodesic dome–like structure. This plan actually won twice as it was selected by the competition's blind jury and the general public through the People's Choice Award. The other People's Choice Award went to Green City Spectator by the Poland-based KAMJZ Architects along with ARUP. Perhaps the most adventurous design, this scheme tops the bridge with what appears to be farming areas, and also has a zigzagging structure similar to to HNTB's vision for Los Angeles’ 6th Street Viaduct. “Competitions are about vision and big ideas,” said competition manager Tony Rizzuto, Chair in the Department of Architecture at Kennesaw State University, in a statement. "They have the potential to take us out of our comfort zone to see possibilities we never imaged. They provide a catalyst for discourse on public space and promote the pursuit of better design.” The ideas-centered competition was sponsored by Central Atlanta Progress, Midtown Alliance, and the Atlanta chapter of the AIA.