On the heels of designing Dallas’s McKinney & Olive tower, his first in the city, Cesar Pelli snagged a competitive proposal as the architect of the Shraman South Asian Museum and Learning Center. The new museum will be located at the corner of Woodall Rodgers Freeway and Field Street in downtown Dallas. Specific details on the museum have yet to be released, but it will be the first museum in the United States exclusively devoted to South Asia; much of the collection will be focused on India. Although Pelli is best known for building some of the tallest towers in the world, the museum is not intended to be a skyscraper, but rather a new cultural addition to the burgeoning area. The proposed 4.7-acre site will be a few blocks away from the Perot Museum of Nature and Science and the not-yet-completed Victory Park complex, making it one of several exciting new additions to the neighborhood.
Posts tagged with "Cesar Pelli":
As Boston continues to ponder its Brutalist city hall, professor suggests covering the behemoth with a glass veil
Like so many Brutalist buildings around the word, Boston's iconic City Hall has not necessarily endeared itself to the public. Since it opened in the 1960s, there have been calls to update the building, completely overhaul it, and to demolish it outright and start over. There have, of course, also been calls to preserve it. The latest idea to revamp City Hall comes from Harry Bartnick, a Suffolk University professor, who wants to cover the structure with a tinted glass curtain structure. In an op-ed in the Boston Globe, he called the idea "simple, obvious, and cost-effective." "The generally outward sloping angle of the glass would impart a feeling of greater stability, and redistribute the visual mass toward the ground," Bartnick argued. "Translucent glass would allow the original wall-surface variations to still be seen, but now softened by filtration through the glass 'veil.'" He continued that the intervention would help the building's efficiency by establishing a "climate-controlled, passive solar interior environment." There are no plans to actually move forward with this project, but, as Bartnick noted, his idea comes as the area undergoes major changes including a new residential tower by César Pelli. Boston Business Journal also recently reported that Center Plaza, a 720,000-square-foot, mixed-us complex nearby, is set to receive a $25 million facelift. Along with new retail tenants, the CBT Architects–led transformation will update exterior walkways, street-level lobbies, and the existing rooftop.
Photographer Wayne Thom captured Late Modernism like no one else, and now his archive is looking for a home
As 1970s and 1980s architecture returns to vogue, a new recognition of those associated with its making and documentation also arises. So it is with Wayne Thom, long the preeminent architectural photographer of the large, Late Modern building by the large firm. Thom began photographing in the late 1960s and his work in Los Angeles, the Western U.S. and beyond to the Pacific Rim documented changing tastes and approaches toward the architectural subject. Hundreds of images are on view on his website. It’s a distinctive and significant body of work, but one without a home. Presently Thom is looking for an organization or institution to take on his sizeable and meticulously organized archive. As time goes on, Thom’s remarkable work seems increasingly ill-suited for sequestration within any one house, including his own. Born in Shanghai in 1933, Thom was raised in Hong Kong, and emigrated to Vancouver in 1949 with his family that includes brother Bing Thom who went on to become a highly noted Canadian architect. Arriving in the States in 1964, Wayne graduated from Brooks Institute of Photography in 1968. By the following year he was working with A. Quincy Jones (“A.Q.”) who gave him his big Los Angeles break. Jones, and others whom Jones later introduced on Thom’s behalf, were impressed with approaches that would over time become Wayne Thom hallmarks. These include the use of natural light only, no props whatsoever, and big buildings—particularly the high rise, as his subject. A breakthrough assignment, Wayne’s prominence further rose with his image of the 1971 CNA Park Place Tower in the Westlake section of Los Angeles. Completed by Langdon & Wilson, CNA Park Place was the first all-over smooth-grid mirror glass skin building—a soon to be corporate vernacular—completed in the Western United States, and likely the Country. Thom’s image of the building overlooking Lafayette Park and the people within it won the First Award of the Pittsburgh Plate Glass (PPG) Architectural Photographers Invitational in 1973. Among his clients through the 1970s, Thom frequently worked with the A.C. Martin office where he photographed a variety of projects including their various Downtown LA projects, the underrated (and unfortunately renovated) Sears West Coast headquarters, and even an A.C. Martin–designed jet interior. In that decade he also began steady, multi-year work as the primary photographer for William Pereira (“Bill”); San Francisco’s Transamerica Building was among his many Pereira assignments. Among other publications, Thom’s images were featured in Progressive Architecture, Architectural Record, Architectural Forum, and Domus—where he photographed for Gio Ponti, the magazine’s founder. His award-winning Bonaventure Hotel image is the February 1978 Progressive Architecture cover. Architect Arthur Erickson, whom Thom knew since his much earlier Vancouver years, tapped him to assist in assembling the team of associate architects, landscape architects and designers that ultimately won the 1980 competition to redevelop Bunker Hill sponsored by the City of Los Angeles Community Redevelopment Agency. In a highly publicized coup, they battled against the “All Stars” team, which included Barton Myers, Frank Gehry, Ricardo Legorreta, Charles Moore, Cesar Pelli and others under Maguire Partners Development. Yet says Thom, “We won the battle but lost the war;” aside from a single Erickson building and the hardscape (Two California Plaza was completed by A.C. Martin) the rest of Erickson’s winning scheme was never realized. Thom continued in full-time practice until 2013, when he curtailed his workload. Living in Rowland Heights, he maintains meticulous records for his thousands of negatives and slides plus hundreds and hundreds of proof books and presentation prints. Now, he’s interested in releasing all of it. In addition to his artifacts, the photographer’s memory is institutional and he seems to have known every single Los Angeles Late Modernist, with insightful if not funny tidbits on most of them. If it all possible, his basic hopes are that archive stay intact and be made available to the public.
As Westweek wraps up in West Hollywood’s Pacific Design Center, developer floats an unlikely expansion scheme
The Pacific Design Center (PDC), designed by Cesar Pelli, is celebrating its 40th year, and last week it wrapped its biggest yearly event, Westweek, which featured panels, lectures, and the debuts of furnishings and interior resources from over fifty companies. We just learned from Curbed LA and the LA Times that the PDC's new Red Building, which opened in 2013, just signed its first three tenants (which will include retailer AllSaints and media company Whalerock), occupying 65,000 square feet of the 400,000 square foot building. Despite this recent track record, PDC developer Charles Cohen hopes to build an ambitious new project, called Design Village, on the Metro-owned bus yards adjacent to his property. According to Curbed, the complex, designed by Gruen Associates, would include 335 residential units, a 250-room hotel, a movie theater, outdoor amphitheater, and restaurants, clubs, and bars. But they report that WEHO city council has voted to asked Metro not to extend their contract (set to expire next month) to Cohen, so the project seems likely to remain unbuilt.
The latest playground for big-name architecture is San Francisco's Transbay District. As AN reported this spring, the city's forthcoming Transbay Transit Center has spurred new projects from some of the field's biggest names, including OMA, Studio Gang, Cesar Pelli, and Foster + Partners. Less than two weeks after Studio Gang revealed plans for its twisting tower in the district, Foster + Partners is out with some images of its own. Don't get too excited—they're fairly vague—but they were enough for San Francisco Chronicle architecture critic John King to call Foster's plan, "gasp-inducing...from the ground up." Here are the basics: the shorter of the two towers rises 605 feet and is entirely residential. The other includes apartments, offices, and a hotel, and tops out at 910 feet, which will make it the second-tallest tower in the city. The tallest prize will go to Cesar Pelli’s 1,070-foot-tall Salesforce Tower that is currently under construction. “If built as now envisioned, the San Francisco tower would be equally futuristic, with brawny structural columns slicing across a mid-block space 80 yards wide,” King said, referring to Foster's taller tower that was designed with Heller Manus Architects. “Except for the elevator lobbies at the rear of the plaza the tower would begin 70 feet in the air, clad in glass and held in place by diagonal columns forming giant X's along the outer walls.” Foster considers the tower's appearance in the city's skyline just as important as how it meets the street. “At ground level, the buildings are open, accessible and transparent—their base provides a new ‘urban room’ for the region, and the new pedestrian routes through the site will knit the new scheme with the urban grain of the city,” Foster said in a statement on his firm's website.
Everything Loose Will Land Graham Foundation 4 West Burton Place, Chicago Through July 26 Everything Loose Will Land explores the intersection of art and architecture in Los Angeles during the 1970s. The show’s title refers to a Frank Lloyd Wright quote that if you “tip the world over on its side and everything loose will land in Los Angeles.” This freeness alludes to the fact that this dislodging did not lead to chaos but rather a multidisciplinary artistic community that redefined LA. The exhibition features one hundred and twenty drawings, photographs, media works, sculptures, prototypes, models, and ephemera. The presentations function as a kind of archive of architectural ideas that connect a variety of disciplines. Projects by Carl Andre, Ed Moses, Peter Alexander, Michael Asher, James Turrell, Maria Nordman, Robert Irwin, Frank Gehry, Richard Serra, Coy Howard, Craig Ellwood, Peter Pearce, Morphosis, Bruce Nauman, Craig Hodgetts, Jeff Raskin, Ed Ruscha, Noah Purifoy, Paolo Soleri, Ray Kappe, Denise Scott Brown, Archigram, L.A. Fine Arts Squad, Bernard Tschumi, Eleanor Antin, Peter Kamnitzer, Cesar Pelli, Andrew Holmes, Elizabeth Orr, and others are explored. Curated by Sylvia Lavin, Director of Critical Studies in the Department of Architecture and Urban Design at UCLA, the show began its journey at the MAK Center for Architecture and then traveled to the Yale School of Architecture before arriving at the Graham Foundation.
Crescent Real Estate Group is making a play to bring high-end business tenants to Uptown Dallas—an area better known for twenty somethings living above their means than big-name office tenants. In order to attract this kind of clientele, the developer has hired architect Cesar Pelli to design a dramatic new building that is promising to change the face of the neighborhood. “We didn’t want it to look like just another suburban building that you’d plopped down in Uptown,” Crescent CEO John Goff told the Dallas Morning News. “Rectangles are boring, and we have a building that is much more interesting.” The building is dramatically different from any other structure around the Big D. The 24-story tower rises from the corner of McKinney Avenue and Olive Street like a giant glass wave crashing down on the southwestern architectural scene. Sited across Olive Street from the Ritz-Carlton, the high-rise portion of the project slants nine degrees over a podium base, which includes space for shops, restaurants, and a parking garage. This two-story volume—one of the largest retail centers in the area—is clad in large glass windows offering spectacular views of a new street-side park. The $200 million project is the most ambitious in Uptown since Crescent built the Philip Johnson–designed 400 Crescent Court in the 1980s. The two Crescent structures could not be more different, however. Johnson looked toward the past for inspiration, while Pelli’s structure is decidedly more modern. “Buildings have changed, and the technology has improved dramatically,” said Crescent senior vice president Joseph Pitchford. “This will be a more contemporary expression than you see in Uptown.”
With terminals at Washington D.C.'s Ronald Reagan International Airport and the Tokyo Haneda Airport under his belt (among several other transportation hubs), Cesar Pelli is no stranger to the challenges of designing airports. The New Orleans Times-Picayune reported that the Argentinian-born architect, who assisted Earo Saarinen on the iconic TWA terminal early in his career, will now collaborate with two New Orleans–based firms, Manning Architects and Hewitt Washington Architects, to redesign the Louis Armstrong New Orleans International Airport to coincide with the city's 300th anniversary in 2018. The roughly $650 million project will involve demolishing old parts of the current terminal and adding a three-concourse, thirty-gate terminal on a 42-acre sit on the north side of the airport. In addition, the proposal calls for a $17 million hotel, new power station, highway ramp, and 3,000-space parking garage. Pelli explained his approach to designing airports in an interview with the Washington Post in 1997: "I like airport terminals that have lots of natural light, that are spacious, that make you feel comfortable, where being there is a pleasant thing," he said. "It is also important that directions be easy to follow. Unfortunately, most airports have been designed primarily for the convenience of the airlines. People are just an inconvenience."
Last Wednesday, Pelli Clarke Pelli's long-anticipated Transbay Transit Tower, at San Francisco's First and Mission streets, finally broke ground, and architect Cesar Pelli was on hand to help turn dirt with ceremonial gold-plated shovels. At 1,070 feet and 61 stories, the tower would be the tallest on the West Coast—at least until AC Martin's Wilshire Grand opens in Los Angeles—and seventh tallest in the nation, taking the title from New York's Chrysler Building. At the ceremony, Pelli told the San Francisco Business Times the tower is "svelte but dynamic, elegant, and very gracious." The developers, Boston Properties and Hines, delivered a check for more than $191 million to the Transbay Joint Powers Authority (TJPA), which owned the 50,000-square-foot parcel of land before the sale was wrapped up this week. Completion for the whole complex is set for 2017, although that still looks like an ambitious goal. According to the Business Times, Boston Properties CEO Mortimer Zuckerman, responding to a name gaff from Mayor Ed Lee, dropped hints that Facebook may be the future anchor tenant of the tower. As AN recently noted, the horizontal component of the Transbay project, a $4 billion transportation terminal being built next to the tower, looks to be shedding its glass facade for budget-saving perforated aluminum. Pelli Clarke Pelli's video rendering of the entire Transbay complex. See videos of the tower here and here.
According to the Sun-Times, the Kennedy family and top tier developer Hines are working on plans for three towers at the Wolf Point site, just west of the Merchandise Mart, to be designed by Cesar Pelli. Currently used as a parking lot, the Kennedy-owned site has dramatic views of the covergence of the Chicago River as well as the Loop. Plans call for the tallest building to reach 60 stories. No word yet on the uses for the buildings. Full details of the proposal are expected to be released in March or April. Pelli's only other building in Chicago is an office tower at 181 West Madison.
The Pacific Design Center's Red Building, the final piece of a three-structure complex, is nearing completion. Designed by Cesar Pelli, the building's jutting red glass facade is in now in place, and the project should be complete by this fall. Photographer Kenneth Johansson has been documenting its construction for the last two years. His pictures don't just reveal the developing bones of the building, they showcase the often-overlooked construction workers who make projects like this happen. "I have all the respect in the world for these guys," said Johansson, of the builders, who he calls "heroic" (you can see why). He plans to release a book on the project next year. Enjoy this slideshow of the construction from start to the present. (Click on an image below to start)
Witold Rybczynski, smart writer, stupid article. Last Thursday, Slate's respected architecture critic weighed in with the dubious notion that the shorter in height, the greater the architect. This silly notion has gone viral on the web, and we felt it was our job to rebut it with some tall figures. Here they are.