Starchitects are descending on Toronto. First it was Frank Gehry with his plan for three 80-story skyscrapers on top of an art museum, and now Norman Foster with a massive plan to redevelop the Metro Toronto Convention Centre area adjacent to the CN Tower and Rogers Centre Stadium. Developed by Oxford Properties Group and dubbed Oxford Place, the plan calls for upgrades to the current convention center and four new towers for housing, office space, a hotel, and a casino surrounding a five-and-a-half acre park spanning a railroad. An Intercontinental Hotel on the northeastern corner of the site would be demolished and replaced by two large towers containing a combined 3.1 million square feet of office and residential space atop one million square feet of retail and a massive 4,000-car parking structure. While site renderings are marked as illustrative massing diagrams, some have noted the resemblance of the two towers to Foster's proposal for the World Trade Center, nicknamed the "kissing towers." Overall, Oxford Place's 7.35 million square feet is expected to cost $3 billion, but is contingent on approval of the casino. The City of Toronto must give the final go-ahead before the casino can move forward. [Via Urban Toronto.]
Posts tagged with "Canada":
Three winning designs to be fabricated by Brooklyn-based Flatcut.This October, winners of the ACADIA (Association for Computer Aided Design in Architecture) design and fabrication competition will show off their parametric chops as part of the organization’s annual conference, now in its 30th year. Announced last week, winners were chosen from 15 finalists by a jury that included Tod Williams of TWBTA, Chris Sharples of SHoP Architects, Tom Wiscombe of Emergent, Dror Benshetrit of Studio Dror, and Thomas Christoffersen of BIG. The competition sought designs in three categories—furniture, partitions, and lighting—and entrants were encouraged to propose hybrid material assemblies that minimized waste and maximized material performance. Tomer Ben-Gal, founder of Brooklyn-based fabrication studio and competition co-sponsor Flatcut, served as technical advisor. Flatcut will fabricate the winning designs in its 100,000-square-foot Passaic, New Jersey, machine shop before they are sent to the conference, held at the University of Calgary, where they will be displayed from October 11-16. Furniture: RECIP Designs in the furniture category had to be produced using two sheets of flat materials, one rigid and one flexible, no larger than 5 feet by 10 feet. Any material that would be available for sourcing by Flatcut was considered valid. The winning design, RECIP, is a modular furniture system by three students at the University of Calgary’s Faculty of Environmental Design. The project explores scoring techniques applied to 1/8-inch-thick recycled rubber, which is then folded into self-reinforcing and interlocking toothed panels and laminated to heavyweight felt batting. The team showed judges how the rigid yet flexible system could be folded into chairs, tables, shelving, or spatial dividers, then dismantled and recycled at the end of its life. “I think what attracted us [to RECIP] innately in a contemporary way is the fusion of two different materials and the way they performed together,” said competition judge Tom Wiscombe in his comments. “It involved certain types of techniques, like fusing, melting and different modes of manufacturing rather than using a single known tooling process.” Click here to see a PDF of the project boards. Partition: Hyperlaxity Partition category designs were permitted to use three 5-by-10-foot sheets of material to build their designs. The winner, Hyperlaxity: Parabolic Ligaments, was a collaboration between SOM’s Elizabeth Boone and PROJECTiONE design and fabrication studio founded by Adam Buente and Kyle Perry in 2010. The design uses aluminum components, including hundreds of v-clips, o-rings, i-bars, and triangular plates, joined by hexagonal silicone tendons with slits that allow the material to stretch over the aluminum pieces. Judge Dror Benshetrit said the non-modular form pushed parametric design. “I like how technically the inner rings, together with the other shapes create different opposite hexagon forms,” he said. Click here to see a PDF of the project boards. Lighting: Luminescent Limacon Like the furniture category, designs in the lighting category had to be produced using two sheets of rigid and flexible materials within the machine-able dimensions. Inspired in part by the fanciful linen collars of 17th-century Europe, the winning design is made with folded and nested ruffles of laser-cut 3form Ecoresin held together with a lattice of aircraft suspension cable, which produces tensile and compressive forces to create the light’s structural stability. Designer Andrew Saunders, an assistant professor of architecture Rensselaer Polytechnic Institute in New York, derived the pendant’s shape from a Limacon curve. The variables of this equation can be changed to produce different lighting effects based on conditions and performance criteria. “That it is two systems, one of a surface system and one of a kind of vector, is what I think together makes it look so beautiful and elegant,” commented Wiscombe. Click here to see the project boards.
Architecture in Uniform: Designing and Building for the Second World War Canadian Centre for Architecture 1920, rue Baile Montréal, Québec, Canada Through September 18 How did World War II impact the built environment? This new exhibit curated by Jean-Louis Cohen explores how 20th century architects contributed to the war efforts and how their work ultimately led to the modern structural and technological innovations that make some of today’s complex designs possible. WWII was an accelerator of technological innovation, and from 1937 to 1945 architects were frequently pressed to pursue the most modern solutions, which often meant the most cutting edge. Designed by New York-based WORKac, the exhibit is comprised of drawings, photographs, posters, books, publications, models, historical documents, and films that reveal how contemporary architecture left its mark on the landscapes of both the Axis and the Allied powers. Organized thematically, the exhibition focuses on wartime activity as well as architects and their projects in Canada, France, Germany, Italy, Japan, the Netherlands, Spain, the United States, and the USSR. Architecture in Uniform is part of a larger project at the CCA that examines the various roles of architecture from the Second World War to today called On the Natural History of Destruction.
Urban Archaeology. Our friends at Rustwire show us that there can be a kind of mournful beauty in industrial decay, as seen in a photo essay of defunct Ohio steel mills by Paul Grilli. The amazing images are part of a series by the Youngstown-based photographer, who is working to document every steel mill in the area. Hot Chile. Inhabitat tells us that, aside from the Fenix capsule used to rescue trapped miners in October 2010, Chile can now boast of another design innovation that will benefit mine workers. In an effort to shield them from the relentless heat and sun of the Atacama Desert region, AATA Architects has come up with a motel-like residence made of shipping containers. And that's not even the coolest part - they plan to cover the entire complex with a huge canvas roof to protect the men from the harsh environment. Who's the Boss? Design Observer ponders who architects are really working for. The potential for tension between designers, financiers and sometimes communities is nothing new. But adding a tyrannical dictator to the equation makes the question all the more compelling, especially when that dictatorial regime might misuse the involvement of a name-brand starchitect to purchase a "commodity of cultural acumen." Suburban Poor. Poverty isn't just an inner-city problem. Planetizen brings news that the suburban city of Mississauga, Ontario is trying to come up with ways to best reach those populations that it deems underserved. Borrowing an idea from nearby Toronto, they want to identify 'priority neighborhoods' that are in need of access to services.
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.