Posts tagged with "Chelsea":
The detail-obsessed will love 1100 Architect’s carefully crafted aluminum stairs in this Chelsea gallery
Just off The High Line on West 24th Street, Metro Pictures has been given new life courtesy of New York firm, 1100 Architect. Inside the Chelsea gallery, a (somehow) forgotten skylight has been reborn and a sleek, seamless aluminum stairway also installed. The building is more spacious too: In part due to more daylight entering the building, but also because of a 16 percent increase in exhibition space.
Speaking to The Architect's Newspaper, Project Architect Spencer Leaf said that much of the additional space had come from removing the entry vestibule and re-configuring the interior layout. "Though removing a threshold, we dropped the ceiling over [the] reception so that there is still some perceived transitional space between the gallery and the front door, but without there being a physical barrier. This opened up the gallery to the street more as well."
Leaf also discussed the gallery's new stairway. Muted in style, the minimalist replacement of the original stairs (made from blackened metal and two-inch-thick steel tube treads) resulted from the client's request to "make the stairs more discreet." At a glance, the stairway appears to be draped in a single, wafer-thin sheet of metal that silently climbs up through the stairwell. Despite this slenderness, though, one instinctively knows the material can take a person's weight too.
"We looked at a number of materials and felt that aluminum gave us the most durability," explained Leaf. "We also liked sanded aluminum largely because of its ambiguous quality—it has a certain massive-ness to it. It almost seems like a carved material or a poured material. A lot of people have asked if it was concrete when they have seen pictures of it."
"The material thickness was a particular challenge for us especially with aluminum being particularly soft—it's all a 3/8ths of an inch thick plate," Leaf added. "When we started looking at it as a folded or welded plate, all of our alignments started being ruined due to that 3/8ths thickness."
Within this confined area, material connections are concealed—an effect that causes visitors who care enough about stairwell detailing enough to swoon, yet one others may overlook. "All the treads are built as boxes," explained Leaf, who added that when viewed from one side to the other, no thickness is visible. "They always align at a point that a hair could barely pass through."
Leaf described the stairway as a "relatively compressed space" but highlighted the 25-foot ceiling that opens up above and the recessed Corian handrail. As with the stairs, Leaf said he and the design team didn't want it to be too obvious or direct in its material or function. "The handrail is the same color and perceived materiality as the gypsum board interior walls. However, when you touch it feels almost like stone because of the quality of the Corian," he said.
New York-based Deborah Berke Partners has been announced as winners of The Women’s Building International Design Competition by The NoVo Foundation and Goren Group. The competition saw 43 teams submit designs to repurpose the former Bayview Correctional Facility into The Women’s Building, which will be home for girl's and women's rights advocacy in New York.
A 1931 project by Shreve, Lamb & Harmon, the structure sits on the south corner of West 20th Street and 11th Avenue. It served as a medium-security women's prison until 2012. At the time of closing, the facility held 153 inmates; the prison was forced to shut-down after incurring heavy maintenance costs post Hurricane Sandy. The building was then acquired by Empire State Development, who later sold it to The NoVo Foundation and Goren Group in fall of last year. Back then, executive director of the non-profit NoVo Foundation Pamela Shifman said, “We are envisioning a sort of vertical neighborhood where women leaders can connect with each other in very powerful ways.”
“We are deeply honored by the opportunity to be design partners in this important work,” Deborah Berke said in a press release. “In my more than 30 years of practice, few projects have resonated with me as personally as this one has. The idea of turning the old correctional facility into a place of hope and action, and the transformational nature of the project’s mission, are an inspiration for my team.”
“Over the last several months, we have met with and heard from hundreds of leaders and activists, including formerly incarcerated women, about what they hope to see in this building,” said Pamela Shifman. “Deborah Berke and her team are the perfect partners to join us as we continue this journey, turning a shared vision of a space for liberation, equality, and justice for all girls and women into a concrete reality.”
Lela Goren, founder and president of Goren Group also added, “As we think about all The Women’s Building stands for and all we hope it will be, Deborah Berke Partners truly embodies the essence of that vision. Berke leads a team that’s not only incredibly skillful, but which we believe has the collective expertise, creativity, and collaborative spirit necessary to breathe renewed life into this space.”
The 100,000 square-foot building is due to reopen by 2020, with ground breaking sometime next year.
One of the last designs from late British-Iraqi architect Zaha Hadid will be realized in New York. Working with developers The Moinian Group, Hadid and her firm Zaha Hadid Architects (ZHA) were commissioned more than a year ago to provide apartments and space for a "world-class" cultural institution at 220 Eleventh Avenue in West Chelsea, Manhattan.
“We must invest in cultural spaces—they are a vital component of a rich urban life and cityscape, they unite the city and tie the urban fabric together,” said Hadid in 2015.
Hadid's long-term colleague and Partner at ZHA Patrik Schumacher spoke of the firm's joy to be working in a city that played a big part in Hadid's life. “As the world celebrates Zaha’s remarkable legacy," he said in a press release, "we are delighted to be announcing her unique collaboration with The Moinian Group for New York, a city that greatly influenced her creative work.”
Hadid's design aims to evoke the loft-like residences that are commonplace in the Chelsea. A coterie of penthouse apartments and a cultural institution will also be embedded into the project. At the time of writing, The Moinian Group are in talks with institutions regarding residency at the site.
“We are deeply honored to develop one of Zaha’s final creations and cement her astonishing legacy forevermore here in Manhattan. She was a special woman and a friend who we all miss very much,” said Mitchell Moinian of The Moinian Group.
The Moinian Group's release mentions that Hadid visited New York many times and was able to develop an understanding of the city, its values and architectural heritage. As a result, the Group said, much of Manhattan's vernacular typologies and the area's way of life have formed her design and approach for 220 Eleventh Avenue.
Set to break ground at the start of next year, sales for housing units are currently in line to begin toward the end of 2017. Images of the project have not yet been revealed but you can find images of her other New York project on the High Line here.
No two walks under this responsive installation in a bridge above the High Line will ever be the same
British soccer team Chelsea FC has submitted plans to the local authorities to construct a new 60,000-seat stadium at Stamford Bridge, their current home ground. The proposal, designed by Herzog & de Meuron, brings with it a price tag of $750 million. The Swiss duo are known for their stadia designs, notably with the Bird's Nest Stadium in Beijing, the Allianz Arena in Munich, and a wispy venue in Bordeaux.
As part of the application, the club will demolish the current playing arena along with the surrounding buildings which include a hotel and an array of restaurants. The submission will be reviewed by Hammersmith & Fulham Council who has have said they will accept comments regarding the new stadium up until 8 January, 2016.
According to the club website the development will create "an outstanding view of the stadium from every seat" and "an arena designed to create an exciting atmosphere," something Stamford Bridge is known for lacking. Away fans have regularly (and easily) been heard taunting, "Is this a library?" Aside from this, the new stadium will also offer "direct access to and from Fulham Broadway Station, making travel more efficient stadium facilities improved for every area."
Transport facilities will be boosted with excavation work and the addition of larger station entrances, along with new decking platforms over the District Line (underground) and the overground mainline railway services. During construction, Chelsea will either play at Wembley in North West London, or Twickenham rugby stadium which is much further West.
Capacity, however, is the club's main priority. Currently at 41,837, which is relatively meagre compared to the likes of competitive rivals Manchester United (75,731), Arsenal (60,362) and Manchester City (55,097), both the club and the fans want more. Even Newcastle United and Aston Villa who (at the time of writing) sit at the bottom of the table boast higher capacity stadia, holding 52,409 and 42,788 respectively.
Sixty thousand still seems relatively small, especially when you compare to 1935, when an attendance of 82,905 (standing) piled in to watch Chelsea vs. Arsenal. Space, though, is hard to come by in West London. Perhaps then, this will suffice, especially when you consider that Chelsea has already attempted previous avenues for expansion, notably with the Billion dollar Battersea Power Station proposal which they were pipped to by a Malaysian property developer.
Chelsea FC, so far, can claim the crown of being the only professional London club to have never relocated with Stamford Bridge being their home since 1905. Back then the prolific stadium architect, Archibald Leitch added Chelsea to his growing portfolio and later on, KSS Design group developed the stadium, essentially making it what it is today. Oddly West London neighbors and rivals Queens Park Rangers are the most nomadic football club in London, having relocated 16 times.
Other commentators have told AN that the decision is speculative one given Chelsea's recent demise in their domestic Premier League.
As starchitect-designed condos pop-up along the High Line, Chelsea’s art galleries look for a new home
You’ll want to stop by the Dia in New York City to see LaMonte Young’s “truly immersive” Dream House
Undulating birch walls create pockets of privacy in an apartment building lobby.When Boston design and fabrication firm Radlab began work on Clefs Moiré, the permanent installation in the lobby of One North of Boston in Chelsea, Massachusetts, they had relatively little to go on. They knew that the apartment building's developer wanted a pair of walls of a certain size to activate the lobby space, but that was about it. "Normally we get more information, so we can come up with a story—a concept based on the building and its requirement," said Radlab's Matt Trimble. "For this we pulled back and said, we have an opportunity to be a little more abstract about how we approach this conceptually." Inspired by moiré patterning and a harpsichord composition by J.S. Bach, the team designed and built two slatted birch walls whose undulating surfaces embody a dialog between transparency and opacity. The client's interest in achieving moments of privacy within a public space led Radlab to moiré patterning, the phenomenon in which a third pattern emerges when two other semi-transparent patterns are superimposed on one another. Trimble compares the moiré effect to standing in a cornfield. "It's not until that moment when you look at it from the perpendicular that you see the rows of corn," he said. "When you look to either side, the crossing prevents you from seeing depths." The designers decided to think about the two walls as a single volume that would later be split. "There's this potential for reading it as a single wall when you look at it from different perspectives," explained Trimble. "This made sense because the project is about viewpoint. If you're perpendicular to the wall, you see straight through it." Radlab began with a traditional approach to moiré patterning, playing with identical vertical components set askew to one another. Then they looked at J.S. Bach's Partita No. 2 in B-flat Major: Gigue. Bach's challenging composition requires the performer to cross his or her hands, the left hand playing the treble clef while the right hand plays the bass. "That became an inspiration for a way to structure and organize the two walls," said Trimble. "To think of one as being the result of a bass set of wavelengths, and the other as a treble set." The designers realized that they could modulate the metaphorical wavelengths across both the vertical and horizontal sections to create an interesting, and varied, third element. "That's where the Gigue became influential," said Trimble. "It gave us a way to create a rhythm in the wall that would pace itself." The team relied heavily on Rhino and Grasshopper both to design the installation and to plan fabrication. "We would create various iterations in 3D modeling software, then disassemble them into the flat XY plane and try to understand: how would we actually build this?" said Trimble. Simpson Gumpertz & Heger's Paul Kassabian provided crucial help with structural engineering, including designing a base plate that is invisible except when the wall is viewed from a 90-degree angle. Radlab CNC-milled the wood slats and spacers before coating them with varnish. "Fabrication was long and arduous, but it challenged us in really great ways," said Trimble. The group developed a hanging mechanism to efficiently apply fire retardant to the ribs. To prevent varnish from adhering to the points of connection between the ribs and spacers, they fabricated each spacer twice, once out of birch, and once out of chipboard. They affixed the chipboard templates to the ribs before spraying the varnish, leaving an untouched patch for the final spacer. "It was process-intensive, there was no getting around that," recalled Trimble. "But we embraced that process-intensive journey from the onset, to see if there were ways we could be creative about creating improvements to make fabrication more efficient." On site, Radlab laid down templates of the base plates to drill holes for the anchor bolts, then returned with the walls themselves. Each wall was prefabricated of four panels and assembled in the shop. "They tilted up almost like tilt-up concrete walls," said Trimble. In addition to having inspired the form of Clefs Moiré, Bach's Gigue works as a metaphor for how the finished walls perform in space. "It starts and stops abruptly," explained Trimble. "There's no crescendo or tapering of intensity. The walls do the exact same thing: there is no rising up from the ground or falling into it. They start and stop in a similar way."