Big spaces, big cities, big freeways. This equation has held ground since the boom of major road developments in the 1970s. But a Dallas group lead by urban designer Patrick Kennedy is fighting that conception. He and his initiative, A New Dallas, are pushing a proposal that has been steadily gaining support since it began two years ago. Interstate 345 is an eight lane, 1.4 mile stretch of elevated highway that serves roughly 200,000 commuters weekly. Kennedy wishes to demolish the structure completely, replacing it with a major surface street, four new parks, $4 billion in new private investment, and homes for 25,000 Dallas residents. Dallas Mayor Mike Rawlings met with TxDOT's district designer, Bill Halson, on April 1 to discuss the project. He issued a written statement applauding TxDOT for looking into the issue, while also noting that the city has no control over the department. Meanwhile, Kennedy called the decade-long investigative report a stalling tactic. TxDOT, however, claims that the thousands of commuters who use I-345 every day are part of an ongoing need that has to be taken into consideration. The first question many ask is how demolishing the expressway will affect traffic. Counterintuitively, the removal of major expressways actually improves traffic conditions. Structures like I-345 operate under the principle of induced demand, which dictates that if something is there, people will use it. Major traffic jams, long commutes from work to home, and decentralized modes of commercial space (a.k.a. strip malls) do not occur because freeways are not big enough or long enough. Rather, they grow in proportion to the size of the freeway itself. Indeed, this demolition trend is catching on throughout the country, as more and more people realize how major expressways hinder growth. I-345 was born in 1974, a time when developers believed that a commute's efficiency was defined by how fast one could get into and out of the city. The consequent boom in highways throughout the nation resulted in residential developments expanding outward from a city's business district, with strip malls and small businesses popping up in the vast concrete wake. Now, however, experts say that urban sprawl can actually hinder, not contribute to, economic growth. They also note that removing the structure would not back up or halt traffic altogether. Rather, it would disseminate it through city side streets, creating a more even flow and possibly completely eliminating the type of traffic problems that are encountered, not in developed urban areas, but in the suburban sprawl enabled by major highways. Indeed, at least six other cities have removed their traffic-chugging arteries. The resulting spaces have been reinvented into parks, cultural centers, public transit, and industrial developments. Kennedy said that the nearby side streets could handle the traffic flow, and that the installation of a major surface road could encourage the use of public transit, as well as facilitate the type of foot traffic seen in Klyde Warren Park. These types of highway removal initiatives, which allow for a more harmonious blend of office, residential, and commercial space, result in more localized living that reduces the need to drive as frequently or as far. Less traffic also equals less pollution, an environmental bonus that Kennedy's initiative has not addressed, but seems wholly feasible. Kennedy's plan also makes Dallas a safer city, considering the risk factor of accidents resulting from high-speed traffic. As several other U.S. cities throughout the nation are considering similar removals, Kennedy's observation that “this is a political and economic discussion more than it is engineering” may be spot-on. So logistically, what would a demolition look like? On the financial side, $10 million dollars and ten years to research the demolition of I-345, after which an approximate 1.9 billion dollars would be funneled into its removal. Meanwhile, TxDOT’s $100 million dollar renovation of the highway is underway.
Posts tagged with "Dallas":
Form/Unformed: Design from 1960 to the Present The Dallas Museum of Art 1717 North Harwood Street Dallas, TX Extended through December 2014 The Dallas Museum of Art is celebrating the work of prolific designers and architects from the 1960s to the present with its first comprehensive design exhibition. Some of the featured designers include Robert Venturi, Frank Gehry, Aldo Rossi, Zaha Hadid, and Donald Judd. Drawn entirely from the Museum’s own collection, the exhibition reveals the evolution of forms and ideologies that have shaped international design over the last half century. “Several of the works on view are recent acquisitions that reflect the continuing expansion of the Museum’s decorative arts and design program to include historic American and European work, as well as contemporary objects of international significance,” said Bonnie Pitman, The Eugene McDermott Director of the Dallas Museum of Art. From modern jewelry like The Golden Fleece, to iconic furniture, the exhibition spotlights the extraordinary work of some of the best designers of our time.
Renzo Piano’s Nasher Sculpture Center was designed with natural sunlight in mind. A roof covered by pierced aluminum screens allows dappled light to enter its art galleries in subtle warmth. The outdoor sculpture garden is open to the elements and a specifically-planted landscape by Peter Walker reaps the benefits of the Texan sun. Since its construction in 2005, the museum has become an icon of the Dallas Arts District. In 2011, a 42-story condominium building went up across the street, banking on the popularity of Piano’s art haven. While the glazed curved glass facade of “Museum Tower” offers million dollar views of the museum below, it burns the artworks and plants with a directed glare. Now, a pair of New York–based architects might have a solution. A bitter debate between the buildings has ensued; but New York–based design studios REX and Front Studio Architects have been commissioned to propose a solution. Situated over the dividing street, Surya, a 400 foot tall light-responsive sunshade sculpture, will balance the Nasher’s need for shade and the Tower’s client promise of a clear view of Piano’s architecture. Tracking the movement of the sun on Museum Tower, the firms have determined when the glare on the art center is at its peak intensity. The Surya sculpture is a free-form thin aluminum ring, its shape determined by ability to block the most reflected light while being the least intrusive on views from the built environment. Spokes to the sculpture’s center support sun-reactive panels, which expand under harsh glare and retract in normal conditions. The sculpture will prevent continued sunlight damage to the works and gardens of the Nasher Sculpture Center, and is hoped to end museum-goers’ constant need for sunglasses. In the debate over which party should take action—the museum or the owners of the neighboring tower—it seems that Museum Tower has made a concrete step for resolve. The Dallas Police and Fire Pension Fund, the Tower’s developer, appointed REX and Front to invent the Surya design and to construct it in the physical middle ground between the two structures.
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A Dallas pavilion's exposed structure demanded extremely tight tolerances of Irving, Texas–based fabricator, CT&S.Ten years ago, the Dallas Parks & Recreation Department launched a revitalization project to update 39 decrepit pavilions throughout its park system. One of them—which was to be designed by the New York office of Norwegian architecture firm Snøhetta in partnership with local practice Architexas—sat at the mouth of a meadow lined by old pecan and oak trees on the southern side of College Park. Speaking about the site, Snøhetta director Elaine Molinar said, “You're aware you've left the surrounding neighborhood and entered a more rural setting.” This is the feeling that the team wished to encourage in its design for a new pavilion. The team looked to the surrounding foliage for inspiration. The pavilion super structure is made up of miter-joined steel wide flange sections that form continuous columns and rafters. The members feature a variety of angles that, in assembly, create a torqued and folded profile based loosely on shapes found in the park’s tree canopy. The roof and two sides are enclosed with 1/4-inch plate steel bolted to the insides of the structural sections. To meet the city's visibility requirements for safety, the sides were water jet cut in abstracted leaf shapes of varying sizes and densities, resembling dappled sunlight falling through leaves. Though the pavilion is straightforward in design, its execution was a rewarding challenge for the architects and the fabricator. “The form was influenced by the shape of the tree canopies around,” explained John Allender, principal at Architexas. Starting with an orthogonal form in Rhino, the architects pushed the angles to resemble the natural surrounding shapes. The exposed beams and columns on the structure's exterior magnify the twisted form. Since the canted framework is fully exposed, there was zero tolerance for error. “The unforgiving design is a difficult one to build,” said Bruce Witter of Irving, Texas–based fabricator CT&S. “These were tight tolerances, far beyond AWS standards,” he added. After translating the Rhino file to AutoCAD, CT&S laser cut mockups to test the angles. Following a workshop at the fabrication studio, the team took close to 12 weeks to craft the beams and panels, prepare bolt holes, paint the steel, and affix a special waterproof sheet to the ceiling panel. Installing the pavilion over a concrete slab also required considerable preparation and time. During the course of nearly a dozen site visits by designers at Architexas, the fabricators erected the columns and roof beams using 3D scans to ensure the fidelity of the final product. According to Witter, the canted angles injected errors into the digital layout, so hard templates were the most reliable method for a successful installation. “If you don't have the fixed angle, you won't get the reading right,” said Witter. With the heavily collaborative nature of the design, Allender said working with a local fabricator—CT&S' facilities are located 15 miles from the job site—was essential to the success of the project. “There's no way this project could have been done by someone out of town,” he said.
The Bruner Foundation Inc. has named the 2013 Gold and Silver Medalists of the Rudy Bruner Award for Urban Excellence (RBA). For twenty-five years, the foundation has celebrated urban projects that stand out for their “contributions to the social, economic, and communal vitality of our nation's cities” with this biennial award. A panel of six urbanists—including such experts as Cathy Simon, design principal at Perkins + Will, and Mayor Mick Cornett, Oklahoma City—selected the four Silver Medalists, and the recipient of the $50,000 Gold Medal, Inspiration Kitchens in Chicago. “Our twenty-fifth anniversary Rudy Bruner Award winners highlight the diversity of innovation in our cities today,” says Simeon Bruner, founder of RBA, in a statement. “They show us urban excellence at all scales and inspire us with their optimism.” The Gold Medal winner, Inspiration Kitchens is a nonprofit, that provides a restaurant training program for homeless or economically challenged individuals at its 80-seat LEED Gold certified facility on Chicago’s west side. The Bruner Foundation will award $10,000 to four Silver Medalists, including: Congo Street Initiative, Dallas, TX: The LEED Gold or Platinum-certified restoration of five family houses and the construction of a sixth, in addition to the creation of green infrastructure that includes stormwater management and solar power and solar thermal systems. Louisville Waterfront Park, Louisville, KY: An 85-acre urban park, once an abandoned industrial swathe of land, transformed over the course of two decades into a vibrant greenspace and waterfront community that provides a link to the city with the Ohio River. The Steel Yard, Providence, RI: A 3.5-acre historic steel fabrication facility that serves as a center for arts education, workforce training, and small-scale manufacturing. Via Verde, Bronx, NY: A 222-unit, LEED Gold certified, affordable housing development in the Bronx, designed by Dattner Architects and Grimshaw, featuring green roofs and solar panels.
Ladies and gentlemen, we finally have a blood feud in Los Angeles. It seems that Los Angeles Times architecture critic Christopher Hawthorne doesn’t care for Thom Mayne’s work. At all. Reviewing his new Perot Museum in Dallas, he called the building, “One of the pricey, preening old breed.” Adding, “it is a thoroughly cynical piece of work, a building that uses a frenzy of architectural forms to endorse the idea that architecture, in the end, is mere decoration.” Hawthorne has used this vitriol on other Mayne buildings, like the Caltrans building and the Cahill Center at Caltech, which, he said, employs a “skin-and-stair strategy that allows the client to make the rest of the building—every interior office or gallery—conventional at best and banal at worst.” Mayne, not surprisingly, doesn’t appear happy. In a recent public tour of his new offices in Culver City, led by our friend and design journalist Alissa Walker, Mayne said he would not be allowing a local architecture critic to write about his new building for his firm’s offices—he was asking a science writer to do the story instead. “All local writers are horrible,” he said. “There are no good writers in Los Angeles.” We beg to differ!
Are you eager to put your architectural design skills to the test? Here are some exciting upcoming competitions that will be sure to present you with the type of challenge you’ve been waiting for. AN‘s editors have combed through our online listing of architecture and design competitions to bring you five of the most interesting competitions happening right now. If you’d like your competition to be included in the listing, please submit it here. Redesigning Detroit: A New Vision for an Iconic Site. Opportunity Detroit is on the hunt for innovative, creative, and inspired designs for a new building that will be built on the historic Hudson's site, one of the most beloved locations in downtown Detroit. The goal is to change the city's image and to promote it as a positive place where anyone may live, work, play and invest. The competition, sponsored by Rock Ventures, will award a first prize of $15,000, a second prize of $5,000 and third prize of $2,500. Take action and submit a new vision for the iconic site. Registration Deadline: April 30, 2013 Submission Deadline: May 31, 2013 The Public Policy Lab Call for Fellows. The Public Policy Lab, the New York City Department of Education's Innovation Zone (iZone), and the Office of School Enrollment have formed a partnership and are searching for opportunities to improve the high-school admissions process. The NYC Department of Education is the largest school district in the country and each year thousands of students participate in a complex school-selection and application process. Three fellowships for design research, visual design, and project strategy will be awarded to professionals interested in participating in the initiative to test iZone's approaches and ongoing use of design-based innovation techniques. Submission Deadline: May 5, 2013 Slant Open International Competition 2013: "Evoking Memories." SLANT is hosting an international landscape design competition in which it invites designers of all disciplines and experience levels to submit their designs for a "show garden." Entrants are encouraged to interpret the competition any way they'd like, but the design should succeed in evoking some kind of memory, whether it be of a person, place, or event, personal or nationally-known. The top two designs will receive monetary prizes and six others will receive merit awards. Submission Deadline: May 20, 2013 International Gastronomic Center. From the beginning of time food has always brought people together. Through hunting, fishing, agriculture, and raising livestock the Greeks, Romans, Venetians, Arabs, Byzantines, and French developed their own regional cuisines. The growth of transportation via roads and boats led to the rise in tourism and consequently to the mixing and intermingling of these different cuisines, resulting in cuisines composed of diverse cultural components. The International Gastronomic Center invites architects from all over the world to design a new center that will attract chefs from all stretches of the world. The ideal center will accommodate their research initiatives, provide chefs with a space in which they can openly exchange their knowledge and ideas, and encourage creative experimentation. Additionally the design must include public spaces, classrooms, and conference rooms. The top three winners will receive cash prizes and recognition by being published in various international publications. Registration Deadline: May 24th, 2013 Submission Deadline: June 14, 2013 Search and Destroy_Target #1.0 Rome. Inspired by Emperor Nero's quote, "Rome will be born again, more beautiful and magnificent than ever before," this competition dares architects to select any historical site in Rome, whether it be the Coliseum or the Ara Pacis, destroy it, and in its place redesign a new building that will hold the same meaning and serve the same purpose as the one before. This provocative competition aims to challenge entrants to contemplate the role that contemporary architecture plays in a historical city and consider the way that it responds to concepts of collective memory, monument, and identity. Registration Deadline: May 18, 2013 Submission Deadline: May 20, 2013
The American Institute of Architects has announced the winners of the 2013 Small Project Awards, a program dedicated to promoting small-project designs. Since 2003 the AIA Small Projects Award Program has emphasized the work and high standards of small-project architects, bringing the public's attention to the significant designs of these small-projects and the diligent work that goes into them. This year's ten winners are grouped into four categories: projects completed on a budget under $150,000, projects with a budget under $1.5 million, projects under 5,000 square feet, and theoretical design under 5,000 square feet. CATEGORY 1: These three recipients had to complete small-projects constructions, objects, an environmental art, or architectural design with a budget of $150,000. Bemis InfoShop Min | Day Omaha From the AIA: "More than a new entry and reception area for a contemporary art center, the InfoShop is a social condenser and transition space between the city and the galleries. With increasing emphasis on social and environmental issues, the art center is becoming a laboratory for ideas rather than a repository for artifacts." The jury commented: "This is such a remarkable process! It represents a designer's victory as opposed to an ideologically born, experientially rich element. ... A context is built on triangular patterns cut into a wall of panels and beautifully engages a sculpturally reception desk that double as a bar for entertaining. The reception space looks great, effortlessly orients the visitor and functions very practically. It is playful without being whimsical. This project is an exemplary demonstration of craft in the digital age." Cemetery Marker Kariouk Associates South Canaan, PA From the AIA: "Before dying, a woman left a note for her children to be read after her death. This note was less a will (she had nothing material to leave her children) than several abstract wishes for them. The sole request on her own behalf was that her gravesite becomes a garden." The jury commented: "This is a design that embodies the idea of ‘remembrance’. The bronze plates, graced with a deeply personal and poetic message, are organized beautifully—pushing and pulling you through the space as you engage it. This is respectful, celebratory work that gracefully merges with its landscape and poignantly reveals the spirit of a woman." Studio for a Composer Johnsen Schmaling Architects Spring Prairie, WI From the AIA: "An unassuming structure nestled into a rural Wisconsin hillside, this intimate retreat serves as a studio for a Country Western musician to write his work and reconnect with nature." The jury commented: "The wood detailing, the use of color, and the simplicity of this retreat for a musician is inspiring. An inspiring place in which to create music and commune with nature. The color palette is at once animated and subtle." CATEGORY 2: These three recipients had to create small-project constructions with a budget of $1,500,000. Nexus House Johnsen Schmaling Architects Madison, WI From the AIA: "This compact home for a young family occupies a small site in a historic residential district in downtown Madison, Wisconsin. Successfully contesting the local preservation ordinance and its narrow interpretation of stylistic compatibility, the house is an unapologetically contemporary building, its formally restrained volume discreetly placed in the back of the trapezoidal site to minimize direct visual competition with its historic neighbors. The jury commented: "This is absolutely beautiful. It is well detailed and not overwhelming. It fits fantastically into the surrounding neighborhood and doesn’t take away from the other architecture. As the name Nexus suggests, this house is very well connected. Composed of a brick podium and a wood clad block on top, it masterfully accomplishes a variety experiences in a compact footprint." Pavilion at Cotillion Park Mell Lawrence Architects Dallas From the AIA: "Commissioned by the Dallas Parks Department, this new shade structure bridges the gap between two groups of trees at a natural gathering place in the park." The jury commented: "This is such a fantastic way for the public to be able to experience architecture in a park setting. The whimsical pop of red draws the eye and leads to you walk in and experience the space. It plays with light and provides a shading experience. An exquisite filigree steel structure, that is at once shade pavilion and large environmental art piece." Webb Chapel Park Pavilion Cooper Joseph Studio Mission, TX From the AIA: " We were asked by the Department of Parks and Recreation to create a picnic pavilion to replace a decaying 1960s shelter. Given Texan heat and humidity, climate control was a priority." The jury commented: "Cleverly integrated into the site the side berm and concrete overhead create a thermal cooling mass the way sustainable design traditionally did. This pavilion project is unlike anything we have seen before. A beautiful public work that will surely inspire those that experience it to embrace architecture in a new way." CATEGORY 3: The three recipients in this category had to complete a small-project construction, object, an environmental art, or architectural design under 5,000 square feet. These projects had to be designed as well as constructed, fabricated, and/or installed majorly by the architect. 308 Mulberry Robert M. Gurney, FAIA Lewes, DE From the AIA: "The starting point for this project is small house at 308 Mulberry Street, originally constructed in the early nineteenth-century in the heart of the historical district of Lewes. In the redesign, the exterior of the original structure is meticulously restored." The jury commented: "A demanding redesign that respectfully preserves the original architecture, while artfully transforming the home." Nevis Pool and Garden Pavilion Robert M. Gurney, FAIA Bethesda, MD From the AIA: "Located in a neighborhood bordering Washington, DC, this suburban site has the advantage of being located adjacent to woodlands. A contemporary house surrounded by mature trees and manicured gardens anchors the site. A new swimming pool, stone walls, and terraces behind the house organize the rear yard and establish a dialogue between the existing house and a new pavilion." The jury commented: "A suburban backyard is transformed with a new panoramic awareness of water, forest and sky." Tahoe City Transit Center WRNS Studio Tahoe City, CA From the AIA: "The Tahoe City Transit Center (TCTC) represents a vital step toward achieving a more sustainable transportation network within the region." The jury commented: " This is first class design and craftsmanship that works on many levels. The scale of the bus is tamed. The project is reminiscent of the approachable architecture of the early century. The wood siding and trees in the background integrate very well. The design is modern and vernacular at once. This profound piece of public infrastructure serves a very important civic function with a low impact modest foot print." CATEGORY 4: The recipient in category 4 was challenged to draft a completely original architectural design that is purely hypothetical and theoretical, and less than 5,000 square feet. Four Eyes House Edward Ogosta Architecture Coachella Valley, CA From the AIA: "A weekend desert residence for a small family, the Four Eyes House is an exercise in site-specific "experiential programming". Rather than planning the house according to a domestic functional program, the building was designed foremost as an instrument for intensifying particular onsite phenomenal events." The jury commented: "The imagery is expertly rendered and communicated. Both rational and lyrical and possessing excellent spatial quality. Architectural towers and horizontal lines modulate the viewer's experience and connection with an elemental landscape. It redefines how a home should be built. ... This project takes the experience of place and via an ‘architectural amplifier’ of thoughtful movement (ascension into each bedroom space) and choreographed view capture / light receiver (well-placed windows), makes it a triumphant celebration of humankind situated in the center of the natural universe."
It’s been nearly a year since the Santiago Calatrava-designed Margaret Hunt Hill Bridge opened in Dallas. Part of an overarching plan to redevelop the banks of the Trinity River, the cable-stayed bridge’s 400-foot-tall central arch pylon has given the Big-D a much-needed civic icon in the otherwise flat and uninhabited swath that the watercourse cuts through the urban fabric. These photos, taken by budding young photographer Halle Darling-Menking, convey something of the motion and excitement motorists experience while traversing the span. The lines of the cables seem to warp and flex, the arch itself to deflect and lean. Fans of the crossing now have something more to cheer about. In January, the Dallas City Council approved funding for a second Calatrava-designed bridge across the Trinity, this one expected to cost $115 million. The second bridge, to be known as the Margaret McDermott Bridge, will replace the current Interstate 30 span. It features two arches running parallel to the span supporting pedestrian and bike paths. Construction will begin this spring and completion is expected by May 2017.
The latest bridge from Spanish tension-element guru Santiago Calatrava, renowned architect behind the Milwaukee Art Museum, Puente del Alamillo, and the upcoming World Trade Center Transportation Hub, will be his first vehicular bridge in the United States. Construction has been completed on the Margaret Hunt Hill Bridge, the first in a series of Calatrava-designed crossings over Dallas' Trinity River. It will act as a literal and metaphorical gateway to the city. This new bridge links the banks of the Trinity River, with hopes of making the area a lively gathering place. Calatrava wants to rethink the riverfront and its capacity to bring in development as part of the city's urban revitalization efforts. He stated he envisions the Trinity River Corridor as the heart of the city, a recreational area much like New York's Central Park. The bridge is the first step in making the waterfront a focal point for recreation. “During my first visit to Dallas I realized that the river basin had the potential to be of defining importance to the city’s future development,” said Calatrava. The structure is a signature Calatrava design with glowing white arch and supporting suspension cables. Supporting over 14,000 cars per day, the new bridge is part of a larger project involving the replacement of Interstate Highway 30. The Trinity Trust Group, a nonprofit supporting revitalization of the riverfront, will host a series of inaugural events, and Calatrava will be in Dallas this weekend for an opening ceremony complete with fireworks, a Lyle Lovett concert, and a ribbon-cutting ceremony. (Fingers crossed that the architect himself will hoist the giant scissors.) The bridge is planned to open to traffic March 29.
District Review. Blair Kamin reports on the Dallas Arts District - the nation's largest contiguous urban arts district - and finds the architecture inspiring but the street life a bore. In an area where Pritzker-winning architecture abounds, can a new park and residential development create urban vitality? Freeway Down. NPR reports on the mainstreaming of highway teardowns across the country. With skyrocketing infrastructure costs, many cities find removing a mega-road is more affordable while preserving neighborhood character and spurring new business. Public Art Confidential. WNYC takes a look at the story of public art in New York and the controversy that can follow as times and values change. Dueling sides argue the benefits of provoking thought on difficult subjects versus giving artwork an appropriate stage to do so. Among the eight most contested statues in New York is the long-toppled King George III once located in Bowling Green. Multi-Use Metro Cards. Subway Art Blog has a pair of recent galleries showing how you can reuse your old Metro Cards, either by adding to your wardrobe or creating collage artwork.
Construction continues at Santiago Calatrava's bold Margaret Hunt Hill Bridge in Dallas after it's signature arch was topped off in June. The cable-stayed bridge is one of three planned as part of the Trinity River Corridor Project, which aims to redevelop the Trinity River and its floodplains, improving traffic flow, increasing parkland, and providing flood protection for the region. Standing 400 feet tall, the Italian-made, steel catenary arch will support six lanes of traffic connecting Singleton Boulevard with with downtown Dallas. When complete in 2011, the 1,200-foot span's cables will create a fluid, sculptural pattern as they descend to the center of the roadway. A time-lapse camera has been set up offering up-to-date construction photos of the bridge.