At most museums, "Do Not Touch" is a core commandment. Even at idiosyncratic institutions like the New York Hall of Science or the City Museum in St. Louis, licking or sniffing the exhibits is not encouraged. The behavioral guidelines are very different at Brooklyn's just-opened Museum of Food and Drink (MOFAD) Lab. MOFAD Lab engages all five senses to investigate the history, science, and culture of food and drink. Housed in a converted mechanic's garage across the street from McCarren Park, MOFAD Lab is the first brick-and-mortar museum devoted exclusively to what the world drinks and eats. The first exhibit, Flavor: Making it and Faking It, explores flavor production and manufacturing. MOFAD founder Dave Arnold explained the need for a physical museum in the digital age: "watching TV shows, you're not able to taste food. The MOFAD Lab is a place to experiment" with how to best engage and present MOFAD's novel items and ideas. It is also the testing ground for a possible, but as yet unconfirmed, permanent museum space. Wyeth Hansen and Ryan Dunn, the designers behind Brooklyn-based Labour, directed MOFAD Lab's entire creative strategy. The duo has worked with Arnold and executive director Peter Kim since 2012 to develop the logo and branding strategy. When it was certain the museum would assume a tangible form, Labour extended their work for the lab into 3D, designing the installations, creating graphics and video, and commissioning fabricators to create specialty aroma-producing machines. Dunn describes the aesthetic of MOFAD Lab as "Eames' office meets Willy Wonka." The team worked fast to convert the raw space into a museum: there was a three month turn around time between the design phase and the October opening. While declining to name a figure, the duo stated their budget was "not big." The space, consequently, has a polished DIY feel: Hansen and Dunn described the exhibition as a "hierarchy of modules," underscoring the flexibility of the program. Wall text and some displays are mounted on a system of wooden cleats. The cleats allow for quick install and breakdown, while ensuring that every text panel is aligned with its neighbor. Labour enlisted design and engineering firm RUSHdesign, located right down the street from MOFAD, to fabricate the frames and smell machines. Voll, exhibition designers based out of Bedford-Stuyvesant, created a floor-to-almost-ceiling paneled wall, and the housing for a video installation that greets incoming visitors. The proximity of the fabricators enabled an especially fast turnaround between design and build. As a key component of taste, many installations engage olfaction. Beside wall text that explained the origins of a particular scent or flavor, smell machines ask visitors' nostrils to determine whether two side-by-side smells, piped through metal tubes at the push of a button, are genuine "concord grape" or genuine "methyl anthranilate." The mother of all the smell machines is the whimsical Smell Synth, a taxonomy of scents, edible and not. Visitors may breed hybrid smells from 19 choices like "Pancakes", "Fruity" and "Cheesey/Vomit", or "Vanilla" and "Nail Polish Remover." The machine lights up when its buttons are pressed, while its tubes emit puffs of the chosen olifacton. Amazingly, the Smell Synth took seven to ten days between design and installation. Beginning October 28, MOFAD Lab is open to foodies (and the general public), though as of yet, no hours are posted on their website.
Posts tagged with "Brooklyn":
You won't be able to drink from it anytime soon, but the fetid, toxic shores of the Gowanus Canal will soon be graced with a new park that filters stormwater as it enters the canal. Designed by Brooklyn's dlandstudio in partnership with the Gowanus Canal Conservancy, the Gowanus Canal Sponge Park will be an 18,000 square foot public space on city-owned land, where Second Street meets the canal. Due to the canal's Superfund status, multiple federal, state, and city agencies are involved in environmental remediation, on and offshore (see diagram below). The $1.5 million project is publicly and privately funded: New York-based Lightstone Group will bankroll a boat launch for the Gowanus Dredgers Canoe Club. The developers are planning a 700 unit residential high rise adjacent to the park. Initiated in 2008, the project stalled for seven years as funding was secured. dlandstudio chose plants for their ability to filter out biological toxins from sewage, heavy metals, and other pollutants that overwhelm the canal, especially when it rains. Floating wetlands adjacent to shore will filter runoff further. Due to the canal's Superfund status, multiple federal, state, and city agencies are involved in environmental remediation, on and offshore (see diagram above). The first phase of the park is expected to open early 2016. State and local officials plan for the Sponge Park to be part of a network of green space that will mitigate flood risk while cleaning incoming stormwater.
Busybodies and neighborhood know-it-alls rejoice: today, New York City, in partnership with civic data managers Vizalytics, launched a beta version of neighborhood.nyc, a new website that maps street-level information derived from 311 calls and city agencies. While this information was and is available in the NYC Open Data Portal, it often required time and high-level sleuthing to sort through mounds of data. The city's new website, neighborhood.nyc, pulls from open data feeds to streamline and map information in the data portal, allowing residents to filter results by neighborhood, or categories, including: MTA, traffic, public health, and quality of life. A search of Tribeca (AN's home neighborhood) revealed markers for noise complaints, street closures, restaurant inspection reports, and contact information for police, fire, and elected officials. In the coming months, the city will invite community leaders to become page administrators, allowing them update their neighborhood's home page images, post community events, or promote local business. To ensure broad access, the site is available in 13 languages. Each neighborhood has its own searchable URL. The index lists over 400 districts famous and obscure, including the twee portmanteaus that are definitely not a thing.
Please be Seated: New York City expands its CityBench program and grows ‘Street Seat’ parklets in Brooklyn
If there's one thing New Yorker's won't stand for, it's a lack of benches. After unveiling the 1,500th addition to its CityBench program, the New York City Department of Transportation (NYC DOT) has revealed that a federal award package of $1.5 million will be used to develop the CityBench scheme further. In addition to this The Downtown Brooklyn Partnership has initiated a colorful "Street Seats" program as seating projects gain popularity in the city. https://www.youtube.com/watch?v=csrcLeTEZaM Over three years ago, an initial $3 million funded the CityBench initiative which pledged to place 1,000 new seats in Manhattan, Brooklyn, Queens, the Bronx, and Staten Island. Now, according to NYC.gov, a further 600 benches have been promised by 2017. The program aims to bring seating to areas where there are few areas of rest aiding the elderly and disabled, with hot spots being around bus stops and areas with high concentrations of senior citizens. Since the scheme started in 2011, citizens have been able to request benches if they choose. Requests can be made via a website form here. So far over 110 senior citizens have made requests and the program has contributed significantly in aiding the pedestrianization of New York City's streets. As a result, distances that would once upon a time be deemed too far to walk by some residents are now possible with the aid of sufficient public seating. "DOT is proud to install our 1,500th CityBench and receive additional federal funding to continue serving our communities, particularly our children and seniors,” NYCDOT Commissioner Polly Trottenberg said in a statement. “Not only are CityBenches a valuable urban amenity in this dense city but they also add to the changing New York City streetscape. I’d like to thank our partners at the federal level for their continued support of this much needed project.” Behind the design aspect of the scheme is NYC-based Ignacio Ciocchini who is Director of Design for Chelsea Improvement Company. Focusing on durability and withdrawing the need for constant maintenance, backless and backed styles provide comfortable resting spaces. Made from domestic steel and manufactured in the USA, they are designed to meet the rigorous demands of New York City’s streets and are coordinated with the look of existing street furniture. Street Seats For the people of Brooklyn however, the notion of sidewalk seating is going a step further. The Downtown Brooklyn Partnership, a non-profit local development organization has begun working with designers Studio Fantástica to produce "Street Seats." These more colorful additions to Brooklyn's sidewalks began popping up in 2014 and have been a huge hit. So much so that NYC DOT has started working with the Studio Fantástica to establish a Street Seats design standard to be used throughout the city. The first example was officially unveiled by DOT on September 11 in East New York and further installments are planned in other boroughs.
Pier 2 at Brooklyn Bridge Park 150 Furman Street, Brooklyn Maryann Thompson Architects It was a perfect day for Archtober-ites to walk onto Pier 2 at Brooklyn Bridge Park and engage in an enlightening tour of its creation, from concept to completion. Kait Kurs from Maryann Thompson Architects began at the entrance—the threshold that separates the big city and pier. It is what makes Pier 2 an island of recreation that includes playgrounds, picnic areas, an inline skating rink, and courts for basketball, handball, bocce, and tetherball. Essentially, it is a “toy box” for the larger park. The pier was originally built by New York Dock Company in the 1950s and operated by Port Authority of New York & New Jersey. Kurs mentioned that the team found bullet casings and black burn marks on the concrete when they started working on the project – remnants of the Port Authority police training. Instead of tearing down the pier and its history, the team chose to adaptively reuse the existing building as the most profound form of recycling. The columns and roof structure were refurbished, but all the walls were removed to bring bright light into the interior. For additional support, large box trusses were added without disturbing the existing form. Polycarbonate skylights inserted into the gables cast a diffused light across the site. Subtractions of roof create voids of sky and open views of Lower Manhattan. The industrial look has been maintained to reference the pier’s past use and landscape. Among the biggest challenges in creating the pier were its drainage system and program. The drainage system was solved by creating a water tank below the entrance to the pier. As for the program, a horizontal layering was used as an organizational strategy for the dispersion and sequence of programming. The space is negotiated with a series of full-height, stainless-steel screens that partially contain “interior” programs, yet allow a visual transparency. Picnic tables are interspersed with various sport courts, alternating between spaces of activity and rest. Apart from that, the perimeter of the pier is a 30-foot-wide promenade that offers magnificent views of Lower Manhattan and the New York Harbor. Pier 2 is a much-needed paradise within the bustling city. Archie Srinivasan is an Archtober Coordinator at the Center for Architecture.
The NYCHA Red Hook West Urban Farm 6 Wolcott Street, Brooklyn thread collective A gaggle of green-thumbed Archtober enthusiasts joined thread collective’s Elliott Maltby and Gita Nandan to learn about the NYCHA Red Hook West Urban Farm. Situated in Brooklyn, the one acre plot has served as a model for other farms being developed on New York Housing Authority properties, including at Howard Houses in Brownsville and in Coney Island. While the lessons learned in the past three years have eased the way for these projects, each community has its own set of needs and will come up with unique solutions. In its pre-farm days, the site served as an open space that was largely unkempt, although a “tree zoo”—a small gated area with trees—had been put in place to make the lot more welcoming. While no planned walkways crossed the field, desire lines, eroded paths created by people moving along their daily lives, helped guide the design. Rather than planting rectangular beds parallel to the street, thread collective worked on a diagonal to recreate the paths that had developed naturally over time. Americorps team members, all of whom come from the community, talk with residents regularly—people are still learning about the farm every day. Green City Force and thread collective worked to keep the space accessible to all to encourage community ownership and involvement. When asked if they have ever had a problem with people coming in and picking vegetables for their own use, John Cannizzo of Green City Force explained that while he doesn’t count every tomato, the nobody takes advantage. And if someone really can’t put food on the table, he hopes that they will come and take what they need. None of the produce is sold. Instead, the weekly farmers market is run as an exchange program in which residents volunteer their time or trade compost for freshly-picked vegetables at a pound-for-pound rate. Cooking demonstrations inspire experimentation in the kitchen, and Americorps team members check in with residents to ensure that they are growing the produce that the community wants. We turned the tour into a double feature, heading next to the nearby Red Hook Community Farm. This three acre plot, which is run by Added Value with the support of Green City Force and a coterie of interns and volunteers, processes compost and runs a CSA and farmers’ market. Nefratia Coleman, a CSA intern whose interest in food began at the NYCHA Red Hook West Farm, took us through the process of composting. Neatly arranged piles maximize airflow and capture heat to decompose the product without attracting vermin or smelling up the farm, which is teeming with interns and volunteers throughout the year. The farm and CSA program took a huge hit in 2012 when Sandy ravaged the land; water from both the East River and the Gowanus Canal rendered that year’s crop unusable. The sanitation department cleaned it up, and the farm was replanted, this time a few feet above its original level. Corey, a staff member of Green City Force explained that the farm serves as a “vehicle to educate, empower, and train young people.” While the interns won’t necessary use their composting skills in future jobs, the leadership abilities they cultivate here will carry them forward in the future. Julia Cohen is the Archtober Coordinator at the Center for Architecture.
Brooklyn Botanic Garden Entry Building, Arch, and Steinberg Visitor Center 990 Washington Avenue, Brooklyn WEISS/MANFREDI, Architecture Research Office With blue skies overhead and abundant sunshine, it was the perfect day to funnel from Brooklyn's clamorous urban streetscape into the transportative, protected landscapes of the Brooklyn Botanic Garden. On this double-header Building of Day tour, Archtober-ites explored the threshold from the city grid into the meandering, arboreal pathways at the garden, as experienced in two new entrance pavilions designed by WEISS/MANFREDI and ARO. The tour began at the northern entrance of the Brooklyn Botanic Garden, where WEISS/MANFREDI’s Steinberg Visitor Center pulls visitors in off of the busy Washington Avenue. Bound on one end by a gently curving glass wall that suggests the S-shape of the building, WEISS/MANFREDI’s visitor center at once announces itself as an architectural presence on the street, but also diminishes its imposition on the landscape in deference to the gardens that lay behind it. Guides Paul Duston-Munoz and Evelyn Rosado from WEISS/MANFREDI described this delicate balance between presence and deference that dictated the siting and form of the visitor center. The building, which houses a ticket counter, visitor information services, gift shop, offices, and an event space, is clad in a glass curtain wall with an exterior glass trellis. As you walk through the space, natural light falls in a rhythmic pattern through the trellis, echoing the experience of light filtering through an arbor of trees. The architects conceived of an S-shape for the building, emulating the existing meandering pathways of the gardens and allowing for a separation between the public entry portal in front and the event space in back. The event space—the largest two-walled room in New York—is encased by the trellised-glass curtain wall on one end, overlooking the Japanese Garden, opposite a wood-paneled wall, partially constructed from the three Gingko trees that had to be removed from the site. The S-shape of the building also means that the entire structure would not be visible from any one vantage point, so as not to overwhelm the garden setting. Atop the visitor center, a green roof planted with tall, flowering grasses in varying heights and shades of green provides a harmonious bridge between the architectural threshold and the verdant landscape beyond. On the southern end of the Brooklyn Botanic Garden, ARO designed a new ticketing and bathroom facility to reactivate an underutilized access point to the gardens. Kai Pedersen of ARO, explained how the siting of the new pavilion was meant to act as both a barrier between the noisy intersection just beyond the garden, and as a welcoming invitation to the community to enter the gardens. The slender brick building topped with a geometric zinc roof and a cantilevered awning is in dialogue with a historic Beaux-Arts archway entrance designed by McKim, Mead, & White from the 1920s, which ARO is in the process of restoring. ARO’s new entrance building has bold architectural elements, while maintaining deference to both the botanic setting and the historic context. The new building uses brick patterning inspired by McKim, Mead, & White’s arch. Pedersen described the infrared film inserted into the layered glass that partially visible to the human eye, but clearly visible to birds, intended to protect avian visitors to the gardens. The two new entryways to the Brooklyn Botanic Garden provided seamless transitions between the urban context and the calming respite of the diverse flora housed in the gardens. Alex Tell is the committee's coordinator for the AIANY | Center for Architecture.
Review> Paul Gunther on preservation and the ongoing exhibit, Saving Place: 50 Years of New York City Landmarks
Saving Place: 50 Years of New York City Landmarks An exhibition at the Museum of the City of New York and Catalog edited by Donald Albrecht, Andrew Dolkart, and Seri Worden Through January 3, 2016 Since the first trace of the species homo sapiens, human evolution only represents four one hundred thousandths of one percent of the earth's age. In proportion to an 80-year life span, that means just 31 hours—less than a day and a half of the 701,280 hours lived. With the existential threat of climate change and ecological ruination gaining traction in collective consciousness—combined with the outsized expectations of breath-holding fundamentalists for whom earth’s rapturous end can’t come soon enough—our sense of what permanence means has begun to shift. If all human culture to date is just four-dozen millennia and we’ve wreaked so much havoc already, “forever” strikes a dubious chord. This temporal dynamic is one prism through which Saving Place and the anniversary it examines can be seen. Another is the end of the post-World War II order and with it a sense that history hasn’t ended after all, including the survival of world monuments (especially amidst the tribal strife in the Middle East) that a united (albeit Western-centric) world had deemed essentially imperishable. It turns out historic places of exceptional human accomplishment can disappear as readily as an endangered species can; the risk of disorientation resulting from the obliteration of common orthodoxies is always high. Such sobering reflection informs this worthy stock-taking anniversary enterprise, which focuses more on the role of the preservation movement as part of the plodding, existential course of civic engagement, rather than some celebratory juggernaut tied only to the singular examples of past excellence like Grand Central Terminal or the Guggenheim Museum. Among the most valued places saved are those of daily routine that most identify as the common bonds of a vibrant community. Only with such coherence can change occur in ways that succeed—and that hold value. Fifty years ago, New York City Mayor Robert Wagner signed into law the first landmarks designation statute in the nation with the creation of the Landmarks Preservation Commission. With its advent came new public authority and civic duty to adjudge the aesthetic and historic value of elements of the built environment, including privately owned or nonprofit properties, whose future disposition affects the commonwealth of all citizens. It was as controversial then as it continues today, whether held as the basis for NIMBY battles by the privileged few or the evergreen bane to developer dreams clipped by what they sometimes assert are its onerous and subjective restrictions blocking the growth and change endemic to sustained livability. That is not an easy distinction for a metropolitan region. Since first launched by the colonizing Dutch, the bonanza of real estate development has been the golden egg of the regional economy. It is the essential cornerstone of New York commerce and the obsession of dwellers from those born and bred to those beckoned by its promise of opportunity and fresh beginnings. This relatively recent chapter of local land use policy and its record of impact are the inspirations for Saving Place, delivered with a welcome sobriety of tone and presentation calmly sharing its results along with the means and personalities that made it happen. An underlying intent born of civic pride stays in lively focus. Like any thorough history show, gray wins out over black and white: The movement started far before the generally shared crucible of the 1963 demolition of McKim, Mead & White’s uplifting Beaux-Arts Pennsylvania Station (giving way to the peerless bathos of Penn Plaza by designer and businessman, Charles Luckman, whose clients took the train users of 1968 to be some dying breed of rodents) and has learned as much from its failures and occasional compromises as from its best known victories. The movement’s roots took hold not so much against change, but against failed progress when the exchange of present conditions for some promised social gain fell short and urban well-being emerged impoverished. Like the l965 law, the 1978 majority ruling by the United Sates Supreme Court, written by Justice William J. Brennan, Jr. (upholding the City’s designation of Grand Central Terminal and thus laying to rest once and for all any lingering assertions that landmark designation was unconstitutional), is far more nuanced than its friends and foes would have New Yorkers believe. The preservation work done, like the battles to come, are perpetually a collective work in progress. The places and leading players presented in such a context emerge more as dynamic case studies than as fixed heroics. The commissioned photographs by Iwan Baan (whose work is characterized as usual by the vehicles, people, and quotidian activity of such places, so often absent in studies of planning and architectural design). Like the exhibit installation by Wendy Evans Joseph and her firm Studio Joseph, record individual designations are not just bright beacons of superior significance but indispensable, stabilizing place holders that bind community even when hidden in plain sight. Saving Place respects the value of landmarks by gently reminding its audience of what we take for granted and by offering (without insisting) on a greater depth of meaning for sites both individual and district-wide. And yet its overwhelmingly beneficial impact on all corners of today's five boroughs, not to mention the quality and measure of visitor appeal (like it or not, tourism means jobs), cannot be denied or scoffed away as a Luddite blockade to change. Whatever else New York may risk in 2015, a dearth or loss of dynamic change is not one of them. Saving Place shows instead how traces of the past can at best stand alongside the new for at least the relatively small measure of time that our present civilization can endure. Like the natural world, today we know that the built world also demands balance as a basis of sustenance. The exhibit’s iconic original architectural models and array of primary artifacts are brought to the fore as the landmark’s legacy of material sensuality in historic terms both material and artisanal. The society we keep is well served by some record of past beauty that for all kinds of reasons simply cannot be replicated, and how that should be done. These strands tie a knot of quiet reflection for the Saving Place initiative that bodes well for a landmarks movement pausing only briefly to recall the reasons its work will never end in the messy marketplace of a healthy city. Coexistence is the key; landmarking works best as one part of the overall planning process, not the bejeweled hobbyhorse of some nostalgic elite. In a world with a foreshortened sense of permanence, the longer we can maintain this democratic equilibrium the better off we all will be.
Landscape architect Diana Balmori has been planting floating gardens and launching them into the middle of Brooklyn's Gowanus Canal only to have the plant life killed off by the Superfund site's toxic waters. "We've been working on this a year," she told AN today along the canal's edge looking at GrowOnUs, her latest floating landscape. "We did three test plantings, but they all died in the canal." The collection of tubes strung together around a pontoon-like structure of 55-gallon plastic drums and hundreds of recycled plastic bottles is an experiment to test the feasibility of growing plants—and eventually food—on larger synthetic islands to help provide local provisions for city dwellers. "Eventually, we would like to create a productive island to grow food and herbs and fruits for city residents," Balmori said. Her team will also monitor the site for its applicability in protecting shorelines, creating natural habitat and biodiversity, generating energy, and providing public space. Balmori, head of Balmori Associates, worked with Riverkeepers to pick hardier plants that could withstand the Gowanus' murky waters. "We used their research to choose plants that could take the pollution," Balmori said. The nonprofit group monitors what pollutants and chemicals are in the canal's waters and advocates for its cleanup. Balmori also looked to plants naturally lining the canal's banks for the island's plant life. "You can see Sumac there and there," Balmori said, pointing to patches of green. "Sumac can take quite a lot." Other plant life on the GrowOnUs island was chosen for its industrial use dying cloth. Balmori said this is a nod to the local industry in the Gowanus neighborhood. Plants on the island include Fringed Sedge, Seaside Goldenrod, and Smooth Cordgrass—selected for their water-cleansing properties—and Black-Eyed Susan, Wild Indigo, and Smooth Sumac—chosen for their production qualities. The plants interact with the canal in a variety of ways. Some of the hardier plants draw their water directly from the waterway, with roots growing down through a structure of mesh and plastic bottles. Other plants use collected rainwater and some use water distilled with solar-powered equipment housed beneath small plastic domes within the island. At night, lights beneath colored filters will glow softly, announcing its presence on the canal. Several birdhouses have also been included—the island is also meant to create habitat for birds and insects. GrowOnUs was unveiled today along a promenade by the greenhouse-topped Gowanus Whole Foods, but will move to its final location this evening at the Seventh Street Basin of the canal.
Greenland Forest City Partners is building a new condominium tower at 615 Dean Street at the site of Pacific Park, a 22-acre, 15-building, mixed-use development in Park Slope and Prospect Heights, just south of Brooklyn's Atlantic Avenue. Designed by Kohn Pedersen Fox, 615 Dean Street is a 26-story structure that will hold 245 residential units across almost 313,000 square feet. Stacked modules are fronted by a precast concrete facade, while the windows are irregularly spaced to add visual texture to the exterior. On the ground floor, there will be an additional 4,000 square feet of commercial and retail space.
There are big changes planned for Brooklyn's East New York. On Monday, September 21st, the Department of City Planning will unveil the full East New York Community Plan. The plan is part of Housing New York, Mayor de Blasio's ten year plan to stabilize existing affordable housing supply and build 80,000 new units. The plan's goal is to increase public investment and catalyze private development in select East Brooklyn neighborhoods, including Ocean Hill, Cypress Hills, and the eponymous East New York. Compared to other community plans, there's one key difference: the East New York Community Plan will be the first to apply mandatory inclusionary zoning. This designation requires the construction of permanent affordable housing. One of the affordable housing provisions approved by Albany in June 2015, mandatory inclusionary zoning requires developers to set aside at least one quarter of their units for low-income individuals, though there are some exceptions to the rule. It typically takes around one year to vet Community Plan proposals. After the ULURP (Uniform Land Use Review Procedure, a mandated public comment period), plans must be approved by each of the city's 59 community boards, all five borough presidents, the City Planning Commission, and the City Council.
SO-IL’s design for this ambitious art gallery in Brooklyn responds to the neighborhood’s industrial past
Brooklyn-based architecture firm SO-IL is adding to its portfolio of art galleries. Slated to open in 2017, Artes Amant will house 14,250 square feet of exhibition, storage, and studio spaces behind its confident concrete facade. Lit by windows strategically placed along the edges of the building, the interior spaces promise to play with the perception of light and shadow, plane and line. The gallery will be located in Brooklyn and its form is "visually and spatially marked by its industrial past," according to SO-IL's website. SO-IL continues:
The self-supporting geometry of these shells exists in tension with programming, light, and circulation. The constant calibration of these constraints inform the contours of the building. Apertures in the shells capture and carry natural light into a nearly edgeless interior, challenging the perception of a defined space. Across the building's exterior, edges and seams slip in and out of appearance. Throughout the building's suppleness and muted palette play with ambiguity and legibility; neither monumental nor prosaic, instead it entices.Judging from the section drawings, there will be some interesting volumes to explore on the top floor of the four-story building. The fluid form of the building bears some resemblance to the firm's earlier Kukje Art Center in Seoul, South Korea. [Via Clad.]