Shigeru Ban: Humanitarian Architecture Dallas Center for Architecture 1909 Woodall Rodgers Freeway Dallas, Texas Through April 25 The Dallas Center for Architecture is presenting a selection of Pritzker Prize winning architect Shigeru Ban’s disaster relief designs. Ban’s humanitarian architecture has confronted some of the world’s most devastating natural and manmade cataclysms in the last 20 years. The Japanese architect is known for his pioneering designs for United Nations refugee shelters in the mid-1990s, using inexpensive and often recycled materials such as paper tubes and cardboard to make durable, shock-proof structures. Projects on view include the Tsunami Reconstruction Project (2005, Sri Lanka), Onagawa Community Center (2011, Onagawa, Japan, pictured above), Cardboard Cathedral (2013, New Zealand), and Paper Nursery School (2014, Yaan, Japan). Complementing the exhibition is a film screening on April 8 of a 2006 documentary about Ban, Shigeru Ban: An Architect for Emergencies. The film features extensive interviews with the architect about the practical, philosophical, and aesthetic aspects of his work. The exhibition is held in collaboration with Austin College, which will present Ban with the 2015 Posey Leadership Award at the Perot Museum of Nature and Science on March 26.
Posts tagged with "Dallas":
Thirty-four earthquakes have occurred in the Dallas-Fort Worth metroplex city of Irving since October 2014. Over the past week, the Dallas suburb has been shaken by a number of earthquakes from a common source point lying roughly below the former site of Texas Stadium. Those 34 quakes have contributed to the over 130 occurrences since 2008. The number is staggering considering the seismic activity in the region was non-existent prior. The number is considerable but perhaps even more alarming has been the recent magnitude. On January 6, two quakes at 3.5 and 3.6, recorded at a depth of 3 to 4 miles below the surface, were felt as far as the central business district in Dallas. With the ongoing seismic activity has come a series of debates focused around the recent spike in number with fingers pointing directly at the increased fracking activity in the region. Though occurrences have been numerous, reports of damage have been minor. The speculation is just given the source’s proximity to the Balcones Fault, which runs from Larado on the Mexican border up along the path of Interstate 35. The fault defines the line between the cross timbers and farmland to the east and the Texas Hill Country and Great Plains to the west. Seismic activity on the fault has been minor for centuries. In recent years, the disposal of wastewater nearly 10,000 feet below the Earth’s surface has been linked to a number of tremors throughout the region. Though any connection between seismic activity and hydraulic fracturing has been denied by the Texas Railroad Commission, which regulates the oil industry in Texas, a team of professors from SMU have begun an intensive study of the Texas Stadium site to identify the cause of the recent increase in earthquakes. The recent earthquake activity will undoubtedly continue to raise additional questions that surround the true positives and negatives behind fracking practices, an argument thoughtfully outlined by Brantley Hightower in May of 2014. For more specifics on the recent quakes the Dallas Morning News has compiled a series of hypothetical outcomes in a recent issue.
At a ceremony held in mid-December, Elizabeth Chu Richter was inaugurated as the 91st president of the AIA. Richter was born in Nanjing, China, grew up in Hong Kong and Dallas, and holds a Bachelor of Architecture from the University of Texas. In 2007, she served as the president of the Texas Society of Architects and more recently represented Texas on the AIA’s National Board of Directors. Richter also heads the Corpus Christi-based architecture firm Richter Architects which won the 2011 Texas Society of Architects Firm Award. “As architects, we use our creativity to serve society—to make our communities better places to live," Richter said at the event. "Through our profession and our life’s work, each of us has shaped and reshaped the ever-changing narrative that is America in both humble and spectacular ways.”
Framework is made of 260 unique steel boxes, laser-cut and sculpted on an 18-axis metal forming machine.When designers at Gensler's Dallas office dreamt up plans for a serpentine steel screen composed of hundreds of perforated cells, they enlisted the design-build talents of Arktura, based in Gardena, California, 14 miles south of downtown Los Angeles. Though still mostly architects, Arktura's staff includes mechanical engineers and even a physicist. The company’s 50,000-square-foot space includes a design studio, an engineering studio, and manufacturing space where they produce furniture, architectural products, and custom projects—like the one Gensler took to calling “Frameworks: Cellure Structure.” “It's in our DNA to allow a lot of flexibility when we're working with design teams,” said Sebastian Muñoz, director of project design and development. Gensler's concept remained intact through numerous redesigns, Muñoz said, but getting it right required a lot of flexibility. “They wanted something that was really elegant and light but very architectural. They wanted it to have spatial qualities,” said Muñoz. The form wends organically across two axes, wrapping up and partially enclosing a space in the lobby of their confidential corporate client's Houston offices. To get that lightness without sacrificing structural stability, Arktura had to develop custom software solutions. The screen is made of 260 unique steel boxes, laser-cut and sculpted on an 18-axis metal forming machine. The solution kept the complex project within budget, said Muñoz, which would have been impossible if they had used custom molds for each box. Opting for cleverly formed sheet metal over pricey composite materials also reined in the project's budget-busting potential. Once they were molded, the metal boxes needed to be aligned perfectly so the inside of the ribbon-like enclosure would appear as one continuous unit. At the same time, they wanted the outside cells to protrude on one end, poking out slightly like scales. That is where Arktura's custom software came in. Though it does not yet have a name, Muñoz said the digital design tool could have other applications in the future. Arktura manufactured the object in nine separate modules before shipping it to Texas, where it was assembled on site. In all, the piece uses 9,500 rivets with 14,000 points of alignment. The massive steel screen appears to tiptoe on a raised floor, but is fastened securely to the concrete slab beneath on custom footings. Muñoz credits New York City–based Laufs Engineering and Design with simultaneously giving the project a powerful presence and an almost airy lightness. Gensler's team—Chris Campbell, Ted Watson, Paul Manno, Emily Shively, and Amanda Kendall—punctured each steel box so sunlight could pour through. The aperture varies on either end of those cavities, as well as from box to box, creating distinct qualities of light inside the space enclosed by Frameworks.
Shelves and lighting added after installation help hightlight vendors and exhibitors who sometimes use the space to show off their goods. As the wending form tapers off away from the shelves, the shape provides a natural space for a retail desk.
Muñoz said without the combination of custom software and clever prefabrication techniques, the manufacturing process would have seriously compromised the design. Now it's possible to imagine pulling off future projects with the same level of complexity. “The computing power was not possible not that long ago," he said. "We're excited about it.”
The Rockefeller Foundation has announced a second batch of cities in its 100 Resilient Cities Challenge. The foundation launched the challenge last year as a way to support resiliency measures in cities around the world. This includes support to hire a Chief Resiliency Officer. One year after the first 32 cities were selected, another 35 have been added to the list, including six in the United States—Boston, Chicago, Dallas, Pittsburgh, St. Louis, and Tulsa. To see the full list, visit the 100 Resilient Cities Challenge website.
Philip Johnson’s only Dallas residential design, The Beck House (1964), has hit the market with a $27.5 million asking price. Current owners Naomi Aberly and Larry Lebowitz—who famously hosted President Barack H. Obama twice within the home’s white walls at fundraising events—recently spent seven years conducting a detailed modernization and renovation of the modernist palace, as well as a re-landscaping of the 6.45-acre park that surrounds it. Dallas firm Bodron + Fruit touched up the architecture, including adding a pavilion beside the new pool, while Massachusetts-based Reed Hilderbrand worked on the grounds.
Dialog, whether between teacher and student, master and apprentice, or a group of peers, has been an essential element of architectural practice throughout history. At next week's Facades+ Dallas conference the tradition continues, with a series of dialog workshops following day 1's symposium. Facade geeks from around the world will gather at the premier conference's Dallas debut to chew over both abstract and concrete challenges, from designing envelopes for resilience to dealing with the problem of glare. Attendees can create their own dialog workshop experience by selecting from one morning workshop and one afternoon workshop. All three afternoon workshops include a field trip to one of Dallas' many architectural destinations. The morning offerings include "Next Gen Passive: Exploring the Links between Passive Strategies, Smart Design, Sustainability, and Resiliency," coordinated by Atelier Ten's Emilie Hagen. Panelists Z Smith (Eskew+Dumez+Ripple) and Ryan Jones (Lake|Flato) will join Hagen to discuss contemporary developments in passive design and question the conflation of sustainability with the elimination of resilience, with reference to specific examples from the three firms' work. The field trip-oriented afternoon workshops include "Digital Design and Fabrication and the Shifting Paradigm of Architectural Research," with Brad Bell of TEX-FAB and HKS LINE's Heath May. Participants will tour UT Arlington's fabrication lab facilities, hear from Bell and May about their work combining academic research and studio practice, and talk to SMU student James Warton about his doctoral research on metallic alloys. Do not miss this opportunity to rub shoulders with the movers and shakers of the AEC industry: register for Facades+ Dallas today, and reserve your spot in two dialog or tech workshops before they sell out. Besides the hands-on, immersive workshops, the conference offers two full days of exciting keynotes, roundtable discussions, exposure to cutting-edge technology, and networking galore. Learn more at the Facades+ Dallas website.
Dallas is growing up. And just like the rest of us, the city is doing some soul-searching on its way from adolescence to adulthood. "Growing up doesn't necessarily mean growing out; bigger isn't necessarily better," said Heath May, director of HKS LINE and co-chair of the upcoming Facades+ Dallas conference. "People are starting to understand that it's time to start thinking about public policy and the way it relates to placemaking." May points to recent events, including the New Cities Summit and "Building the Just City," the third annual David Dillon Symposium, that have brought architects, city planners, and policymakers together to discuss the Big D's urban future. At the end of this month, experts in the field of facade design and fabrication as well as representatives from the City of Dallas, Dallas Morning News critic Mark Lamster, and other influential Dallasites will continue the conversation at the Texas debut of the Facades+ conference series. At the top of the list of local concerns, said May, is the idea of the connected city. When he recently saw 1930s footage of downtown Dallas, May was struck by "the sheer amount of people on the sidewalks in contrast to what you see today. Downtown is coming alive now, but it's struggling." Part of the problem is the lack of physical connectivity to adjacent neighborhoods, especially Deep Ellum, stranded on the other side of IH345, and the Trinity River. Groups like A New Dallas, which proposes tearing down the decrepit IH345, and AIA Dallas "are looking at how we can stitch the city back together—at how we can provide workforce housing to live, walk, and enjoy downtown," said May. In terms of facades, said May, the challenge is to "understand architecture as part of a system." The theme of the Facades+ Dallas is resilience; resilience, May insists, depends on various scales of design as well as on the cooperation of clients and policymakers. "We're inviting clients, developers, and members of the community to participate in these discussions when we're looking at things the city is wrestling with," said May. "Things like glare: how do you balance that with other criteria such as mitigating solar heat gain?" May is co-leading a dialog workshop on day 2 of the Facades+ conference, with TEX-FAB's Brad Bell. Participants in "Digital Design and Fabrication and the Shifting Paradigm of Architectural Research" will take a field trip to the University of Texas at Arlington, where May and Bell are involved in a consortium designed to bring together academic research and professional practice. The workshop includes a tour of UTA's fabrication facilities and a discussion of how new tools are shaping practice, as well how practice and research exist in symbiosis. Other events at Facades+ Dallas include a symposium panel on glare, plus "Balancing Cost and Performance Through Simulation," a hands-on tech workshop offered by HKS LINE's Tim Logan and Paul Ferrer. To register for dialog or tech workshops and to learn more, visit the Facades+ Dallas conference website.
Frank Gehry's Walt Disney Concert Hall in Los Angeles, Scott Johnson's Museum Tower in Dallas, and Rafael Viñoly's Vrada Hotel & Spa in Las Vegas have at least one thing in common. All three provoked the ire of their neighbors when glare from their reflective facades raised sidewalk temperatures, blinded drivers, or—as in the Museum Tower case—jeopardized the nearby Nasher Sculpture Center’s collections. Glare is increasingly a problem in facade design, says Curtainwall Design Consulting president Charles Clift, in part because of the tools contemporary architects have at their disposal. "The conclusion I came to is that the digital age of architecture has allowed designers to create anything they can imagine, but with that comes some unintended consequences." Clift and other experts in high-performance envelope design, including George Loisos (Loisos + Ubbelohde) and Luke Smith (Enclos), will dig into the problem of glare in a symposium panel at this month's Facades+ Dallas conference. Nasher Sculpture Center director Jeremy Strick, David Cossum of the City of Dallas, and the Dallas Morning News' Mark Lamster will join them to discuss the reflectivity challenge within the local context. The conversation will continue on day 2 of the conference at the "Curating Daylight: Effective Control of Interior Illumination & Issues of Exterior Reflectivity" dialog workshop (led by George Loisos and Susan Ubbelohde), which meets at the Nasher Sculpture Center. Advancements in building materials offer one solution to the glare challenge, which exists in tension with the demand to reduce thermal gain. "An easy way for the facade to accomplish sustainability goals is to use highly reflective glass, but obviously that rejected glare goes back into the environment," said Clift. Happily, innovations by today's glass manufacturers, including low-e coatings, boost performance, reduce glare, and allow a decent amount of visible light transmission. External or internal sunshades can also do double duty as thermal barriers and glare blockers. But both specialty glass and shading structures come at a cost, and are often the first to go when the budget gets tight. "A lot of the time, the issue of glare has been taken into account in the design process, but it’s one of the first components that might get value-engineered out," said Smith, who will moderate the panel. Municipal-level regulation is another possible fix for the reflectivity problem. Clift reports that some Dallas builders he’s talked to are confident that the market will sort things out. They say that the Museum Tower/Nasher Sculpture Center debacle "is such a bad situation that a savvy developer won’t do that in the future." Smith is not so sure. "This is an urban problem, but as soon as the city tries to step in, people say, 'No, this has nothing to do with the city,'" he said. "I think the problem is getting worse because density is increasing in cities, and right now glass is predominantly the building material of choice." Dallas, he notes, is the perfect place to explore the glare issue. "The city’s going through a regeneration: the place is coming back. Plus, it’s sunny, and they like glass buildings." To hear more from Smith, Cliff, and the other panelists about the problem of glare, register today for the Dallas Facades+ conference. The complete lineup of symposium speakers, dialog workshops, tech workshops, and networking events can be found on the conference website.
If Dallas is not already on your list of top United States architectural destinations, it is past time to make a correction. The city boasts the largest concentration of Pritzker Prize–winning architects' work anywhere, including Philip Johnson's Thanks-Giving Square, I.M. Pei's Dallas City Hall, Fountain Place, and Morton H. Meyerson Symphony Center, Renzo Piano's Nasher Sculpture Center, Foster+ Partners' Winspear Opera House, and Morphosis' Perot Museum of Science. The thriving Dallas Arts District is bursting with performance venues and architectural gems like Edward Larabee Barnes' Dallas Museum of Art, SOM's Trammell Crow Center, and REX/OMA's Dee and Charles Wyly Theatre. And more projects are in the works: Cesar Pelli is designing an office complex for Uptown, and a second Santiago Calatrava-designed bridge is planned to span the Trinity River. Attendees at this month's Facades+ Dallas conference will have a chance to experience the Big D's outstanding architecture scene in person. The conference's dialog workshops, in particular, were designed with Dallas' built environment in mind. All three afternoon dialog workshops incorporate a field trip to either the Perot Museum, the University of Texas at Arlington (where participants will tour the fabrication lab), or the Nasher Sculpture Center. To learn more about Facades+ Dallas or register for a dialog workshop field trip, visit the conference website.
Today’s AEC professionals are more to reach for a computer mouse then they are a drafting pencil. Understanding and being able fully utilize cutting-edge digital design tools is essential to contemporary architectural practice, particularly the design of high-performance building skins. Attendees at next month’s Facades+ Dallas conference can choose among four hands-on tech workshops in a unique program designed to deliver in-depth exposure to platforms including Autodesk Revit, Autodesk Vasari, and Grasshopper. The tech workshops, all of which focus specifically on building enclosures, “are heavily attended by professionals, by people wanting to take that next step and participate in a more active dialogue,” said Mode Lab’s Ronnie Parsons. “They are at once about learning, and about taking on the role of a leader who could potentially shape what’s happening—who could be on the podium next time.” The Dallas lineup includes “Computational Design for BIM,” taught by Parsons and Erick Katzenstein, also of Mode Lab; “Balancing Cost and Performance Through Simulation,” with HKS LINE’s Tim Logan and Paul Ferrer; “Parametric Facade Design Fundamentals,” led by Andrew Vrana of Metalab; and “Environmental Analysis and Facade Optimization Strategies,” taught by Colin McCrone and Mohammad Asl, both of Autodesk. Participants in “Computational Design for BIM” will also receive a one-month complimentary subscription to Mode Lab Academy. The tech workshops take place on the second day of Facades+ Dallas at CityPlace Events. They are designed to draw from and extend the discussions begun during the symposium on day 1, explained Parsons. “The way that the Facades+ conference has been crafted is in terms of a holistic experience.” For information and to register for tech workshops, visit the conference website.
Home to Morphosis' Perot Museum of Nature and Science, the Santiago Calatrava–designed Margaret Hunt Hill Bridge, and a starchitecture-studded cultural district, Dallas is increasingly an architectural destination in its own right. This fall, AEC industry professionals have one more reason to visit: the inaugural Facades+ Dallas conference, taking place October 30–31 at CityPlace Events. The Facades+ conference's Dallas debut is a homecoming of sorts for the native Texans on the planning team, who include AN founder and publisher Diana Darling, AN managing editor Aaron Seward, and Mode Lab founding partner Ronnie Parsons. The not-to-be-missed event begins with a symposium featuring the movers and shakers of high-performance envelope design, like keynote presenters Antoine Predock and Marlon Blackwell, plus special appearances by Jeremy Strick, Director of the Nasher Sculpture Center, and City of Dallas Assistant Director of Public Works Zaida Basora. The symposium is followed by a day of dialog and tech workshops—intimate opportunities for hands-on exposure to real-world examples and cutting-edge design tools. All three afternoon dialog workshops incorporate field trips to either the University of Texas at Arlington or the Renzo Piano–designed Nasher Sculpture Center. Facades+ Dallas attendees will have the opportunity to earn up to 16 AIA CEUs over the course of the two-day conference, as well as to meet and mingle with the leading lights of facade design and construction. To learn more and to register, visit the Facades+ Dallas website.