Posts tagged with "David Adjaye":

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National Smithsonian symposium will celebrate black architects and planners

The Smithsonian National Museum of African American History and Culture (NMAAHC) in Washington, D.C., is gearing up for a national symposium that will reflect on a half-century of work by black American design professionals. Shifting the Landscape: Black Architects and Planners, 1968 to Now will be a three-day event in late September featuring talks and presentations from Sir David Adjaye, Justin Garrett Moore, Mabel O. Wilson, Jennifer Newsom, and many more at Adjaye's NMAAHC building and the National Museum of African Art. The event will highlight the work of black architects and planners since the late '60s, and speakers will reflect on the evolving relationship between design and activism. The events are also intended to allow participants to network and form relationships that could help young designers advance their careers. The symposium is one of many events this year that looks at the profession's progress on racial equity since Whitney M. Young Jr.'s 1968 address to the annual convention of the AIA. In that speech, the then–executive director of the National Urban League exhorted architects to take on the nation's social and political issues, especially those of the nation's cities. He also encouraged the profession to embrace diversity and encourage designers from underrepresented groups to take their place in the design community. Although the symposium has already reached capacity, its Thursday and Friday events will be streamed online here. Shifting the Landscape: Black Architects and Planners, 1968 to Now will take place Thursday, September 27, through Saturday, September 29 at the Smithsonian National Museum of African American History and Culture and the National Museum of African Art, both in Washington, D.C.
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David Adjaye realizes a ruby-red museum in San Antonio, Texas

In 2007 the late artist and philanthropist Linda Pace—of Pace jarred salsa fame—had a vision of a ruby-tinted arts city come to her in a dream. The city, as Pace dreamed it, would become a rough outline for the 14,000-square-foot Adjaye Associates–designed museum complex that will house her foundation’s art collection in San Antonio. Pace passed away in 2007; more than ten years later, her vision is being brought to life bit by bit, an endeavor that is currently in full swing ahead of the building’s projected 2019 opening date. The $16 million dream is being translated into reality by architect David Adjaye and an international network of local architects, contractors, and fabricators who have made plans for a precast concrete panel citadel situated on the Texas plain. There, folded concrete surfaces and expanses of brut walls will house the 800 or so artworks collected by Pace and her namesake foundation. The pink complex is built out of a special concrete and aggregate mix crafted by fabricators across the border in Mexico that will result in a gleaming, rosy edifice. As explained by Mike McGlone, principal at Alamo Architects, the executive architect for the project, most colored concrete starts out in either gray, beige, or white tones, with pigments added incrementally to tint the mixture to the desired color. But ruby red pigment is a particularly difficult hue to achieve. For one, pigment can only be added little by little, resulting in a blended appearance that can appear muddled when combined with cement’s natural coloring. The process is made more difficult by the inherent structural requirements of the materials involved—the more pigment is added, the less resilient the final product—so while Pace’s dream called for a vibrant, beet juice–colored edifice, tests using traditional methods yielded less spectacular results. That was the case until designers began looking south of the border, where concrete fabricators Pretecsa can produce concrete panels made with red rock aggregate and red sand taken from local quarries. There, instead of starting with beige or gray bases, the fabricators begin with white concrete and add colored materials and tints to change the hue of the mix from inside-out. The fabricators include materials such as recycled red glass and mica in the mix to boost coloration, while also creating a glittering finished surface that will reflect sunlight throughout the day. Adjaye’s designs call for a collection of open galleries topped by a pair of sculptural light cannons that will bring light into the building. The complex will make use of several different concrete panel types, including rough surfaces that will line the upper sections of the building to better reflect the sun. Lower sections will be smooth to the touch, with a three-sided forecourt wrapping a sculpture terrace that features sandblasted surfaces. The folded concrete panel structure will also use cementitious panels along its roof, a system that will be supported below by a secondary weather-proof roofing system located directly below the outermost concrete layer. The complex is expected to be completed in late 2018 and will open to the public in 2019.
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David Adjaye reveals new renderings for Financial District tower

Ahead of the sales launch for the Adjaye Associates-designed 130 William condo tower in lower Manhattan, Sir David Adjaye sat down with the New York Times to discuss the building’s design philosophy and to drop new renderings of the arch-wrapped tower. Construction on the tower, with its gothic-flair and inverted take (and massing) on the arches seen in classic New York masonry, is already well above grade. Unlike many of its glass-clad contemporaries, dark, angled concrete panels as being used for the building’s facade, which Adjaye described to the Times as acting to break up rainwater running down the face of the building. A new detail revealed in the interview is the deeply gauged and pocked texture of the concrete, reminiscent of fresh volcanic rock. The arches-all-over motif is repeated in the lobby according to the new renderings, with arched book nooks notched from concrete and arching transoms over the main entrance doors. Like the building’s facade and the black tiling in the pool room, Adjaye and Hill West Architects have gone with a heavy dark material palette for the lobby. This is in stark contrast to the all-white residential unit interiors and they’re brass-burnished finishes. Adjaye Associates and Weintraub Diaz Landscape Architecture will also be designing a planted plaza at ground level inspired by the city’s historic pocket parks, though from the construction photos the building appears to be tightly slotted into the site. Potential residents can purchase units starting from $650,000 for a studio all the way up to a $5.42 million 4-bedroom condo, with an expected move-in date of 2020.
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A roundup of inverted architecture shows the popularity of the form

Situated on a narrow Lower East Side lot between Delancey and Rivington Streets, ODA’s just-completed 100 Norfolk is designed to maximize square footage, starting with a tightly-constricted base, and widening as it rises; taking advantage of its neighboring buildings’ air rights. This reverse-ziggurat strategy is a time-honored one, particularly in tightly-packed cities like New York. Some, like ODA’s, max out tight spots, others create unique programs, or are simply meant to impress by defying gravity. Here are some of our favorites, both realized and not: OMA 23 E 22nd Street A luxury condo set on a tight site down the street from the Flatiron Building, OMA’s 23 E 22nd Street was set to widen over the neighboring building, still leaving room for light and views above and beneath.   KPF 40 E 22nd Street For its glassy residential tower just down the street from OMA’s site, KPF used almost the exact same strategy — albeit less dramatically. It’s 40 E 22nd Street, aka Madison Square Park Tower, may have “borrowed” OMA’s idea, but it also actually got built.   Adjaye Associates, Bond/SmithGroup National Museum of African American History and Culture David Adjaye’s National Museum of African American History and Culture uses this strategy to help tell a story: in this case African Americans’ passage from slavery into freedom. The museum starts underground, and—thank to bronze-colored walls hanging from massive girders—opens up as visitors progress upward.   Kengo Kuma, V&A Dundee drone footage of kengo kuma's V&A museum of design, dundee from designboom on Vimeo. Sometimes inversion works effectively simply for its wow factor. Kuma’s three story building for the V&A in Dundee, Scotland is made up of 21 wall sections, composed of 2,500 pre-cast rough stone panels—none of them straight—creating the appearance of a Scottish cliff face.   Harvard Jolly, W Architecture, St. Petersburg Pier (courtesy Harvard Jolly) Located at the end of the St. Petersburg Pier, Harvard Jolly's steel-framed inverted ziggurat (top) served as a festival marketplace from 1973 until 2013. Michael Maltzan was first slated to replace the design, but that plan fell through. Now the project is being led by Rogers Partners Architects + Urban Designers, who seem to be creating yet another inverted structure (bottom), lifted high off the water.   Kallmann, McKinnell, & Knowles, Boston City Hall Another example of the symbolic use of the inverted ziggurat is Boston City Hall, a structure whose glassy base is designed to welcome local residents (whether it does that or not is very debatable,) while offices above shade this space and through their extension announce the importance of the public officials inside.   Konstantin Melnikov, Rusakov Workers Club Constructivist master Konstantin Melnikov created ever-changing, ingeniously adaptable buildings, including this communist workers club in Moscow, whose upper balconies protrude noticeably from its façade, allowing them to be closed off (via moving partitions) as independent spaces for art, athletics, and so on, or moved into place as theater seating.  
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Adjaye Associates delivers a high-design switching station in Newark

Switching stations, a necessary part of our electrified lives, are normally ugly as hell. From afar, the assemblage can look like sculpture, all painted metal and catenaries, but up close, the infrastructure in harder to appreciate, and even harder to accept in the middle of a residential neighborhood. Out in Newark, electricity provider PSE&G heard neighbors when they demanded the company's new switching station be a) beautiful and b) a real community asset. It took four years of planning to get there, but on a recent Wednesday, a stylish crowd of Newark residents gathered to celebrate the opening of an Adjaye Associates–designed switching station in the city's Fairmount Heights neighborhood. The 177,000-square-foot Fairmont Heights Switching Station commands a good chunk of a full city block, but it harmonizes easily with its more modest, three-story neighbors. To strike a coolheaded balance between the industrial structure and the existing residential fabric, Adjaye Associates' New York office worked with local firm WSM Associates to encase the switching station's unsightly components behind an art wall, a 1,790-foot-long concrete and aluminum edifice embedded with permanent works by 14 artists. While two of the works anchor the concrete portion of the facade, most of the pieces are mounted up high, near the top of the 30-foot walls, in niches that interrupt tastefully gold and subtly curved perforated aluminum screens. The most remarkable feature, however, is a concrete-columned agora at the front of the building whose two rows of 34-foot-high red columns support geometric canopies that cast complicated shadows on the sidewalk below. The arrangement can hold other artworks in suspension, but it also defines an otherwise throwaway cutout in the perimeter that can now be used for a market or other community events. In his remarks, Mayor Ras Baraka joked about Newark's seemingly forever-ongoing revitalization. Alluding to the process that created the building he stood in front of, Baraka called art and collaboration—between public and private, between community and architect—the "secret sauce" of successful neighborhood revitalization. Like other new, high-design public amenities in the tristate area, this project was brought on by Hurricane Sandy. In the immediate aftermath of the 2012 storm, local utilities took a beating, leaving around nine in ten of Newark's residents without power. In response, PSE&G began upgrading its infrastructure to anticipate overloads, and it planned a switching station in Fairmount Heights to improve its resilience in the face of extreme weather events. Adjaye Associates worked with the company, arts groups, and elected officials to deliver a design that exceeded expectations. "What I've learned in architecture and design is that, when the opportunity seems complicated, that's when your creativity has to rise to that opportunity," firm principal David Adjaye told the crowd. "One gets opportunities to work in amazing places, but it's actually much more rewarding to work in places people think design will not come to. [Here] we wanted to create something that would make a place." Outside Newark, Adjaye's firm has a number of projects in process or recently completed. The architect just revealed updated designs for a new public library in Winter Park, Florida, and earlier this month, The Architect's Newspaper (AN) spotted crews working on 130 William, Adjaye Associate's first New York skyscraper. Although the firm is best known for its work on the National Museum of African American History and Culture, its latest commission, a Manhattan espionage museum, opened to the public in Feburary.
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Michael Van Valkenburgh Associates, David Adjaye selected to design Detroit’s West Riverfront Park

Beating out a pool of over 80 international design teams, a team with Brooklyn-based landscape architects Michael Van Valkenburgh Associates (MVVA) and Sir David Adjaye have been chosen to transform the 22-acre West Riverfront Park in downtown Detroit. While the nonprofit Detroit RiverFront Conservancy has stressed that they were choosing a team, not a design, MVVA’s presented plan for the park would substantially change the waterfront. While the final four competitors for the park presented big names in landscape architecture, including James Corner Field Operations, Hood Design Studio and Diller Scofidio + Renfro, and Gustafson Guthrie Nichol, the diverse programming proposed by MVVA ultimately won out. The $50-million redevelopment will present all-ages options throughout the shore, including the carving out of a beach inside of a secluded cove. Now that the design team has been chosen, the MVVA-led team and Detroit RiverFront Conservancy will solicit input from the community to nail down the final design details. The Detroit RiverFront Conservancy will also fundraise to reach the rest of the $50 million goal in the meantime, meaning the construction and completion date for the project are uncertain at the time of writing. MVVA’s design for the riverfront park mixes active uses with more passive recreational areas and mingles the park’s natural systems with the city grid, similar to firm’s approach at Brooklyn Bridge Park. On the western side of the park, there will be a pool house and built up “performance hill,” complete with a clamshell-shaped amphitheater that will sit on a pier in the river. The circular “Sport House” will go up to the east, which from the renderings looks like it will float above a basketball court and feature a green roof on top. Moving east, a tall, artificial bluff will surround the park house and picnic grove. Perhaps the most prominent feature in the proposal is the aforementioned beach at the park’s center, which will be hemmed in by a stone jetty to the west and a fishing pier to the east, likely to prevent erosion. MVVA’s renderings show kayakers and beach-goers relaxing in the summer and skating on the frozen river in the winter, part of the Conservancy's vision for an all-year-round park. Capping off the eastern edge of the park is the enormous “Great Lakes Play Garden” for children, and “Evergreen Isle.” The stone island sits parallel to the playground in the river and is designed to break up ice floes and anchor ecological improvements by creating a shallow, biologically diverse channel. The shore of the entire park will be bounded by the Detroit Riverwalk. “It was love at first sight when I saw the Detroit River,” said Michael Van Valkenburgh in a press release. “I immediately recognized that this new park could draw the city to the water’s edge.” West Riverfront Park is bounded by Rosa Parks Boulevard to the west and Eighth Street to the east, a stretch that had been in private hands for nearly 100 years before the Conservancy purchased it in 2014. A $345,000 grant from the Ralph C. Wilson, Jr. Foundation’s “Livable Communities” focus area financed the West Riverfront Park Design Competition. MVVA’s team for the project, besides David Adjaye, will also include Utile and Mobility in Chain, and local partners LimnoTech (Ann Arbor), PEA (Detroit) and NTH Consultants (Northville).
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New renderings released for Adjaye Associates’ Florida library

 Last year, a small Florida city commissioned David Adjaye to design a new public library and venue. Now, Winter Park has released new renderings and schematic designs for the building, whose upside-down-lopped-off-pyramidal massing resembles the London architect's acclaimed design for the National Museum of African American History and Culture in Washington D.C.

The new images are more detailed than the collaged ones that debuted last November. Here, the new, 50,000-square-foot facility is depicted with its cast concrete panel cladding that will be painted with a to-be-determined color (current renderings depict an ochre facade). Included in the footprint is a 8,500-square-foot civic center, as well as a parking garage for 200 vehicles. In the two-story library, a central spiral staircase will connect the two floors. At the events center, a spiral stair will connect the venue with the rooftop cafe.

Adjaye's firm, Adjaye Associates, is collaborating with Florida's HuntonBrady Architects on the project, which will supplant Winter Park's civic center.

The library is slated to cost around $30 million, but features like a rooftop venue over the events center could be included if fundraising efforts are a success, the Los Angeles Times reported.

The city is hoping to okay the move to design development at its meeting next week.

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Adjaye Associates’ loggia-wrapped Manhattan condo tower starts to rise

The Adjaye Associates-designed 130 William, the firm’s first skyscraper in New York, is on the rise. AN has spotted crews working above grade, and a red kangaroo crane has gone up at the Financial District site to help the building reach its expected completion in 2020. At 66 stories and 755 feet tall, the building will be a substantial addition to the downtown skyline. However, unlike most recent towers built in this current boom, 130 William will eschew a glass curtain wall for a custom-tinted precast concrete accented with bronze. The texturally rich surface will be punctuated by arches and loggias on the upper floors, which will blur the divide between interior and exterior spaces for their inhabitants. The cutouts in the upper half of the building's façade invert the traditional window shape commonly found among historic buildings in the neighborhood (as well as on the tower's lower half). The project’s narrow, L-shaped lot on the corner of Fulton Street and William Street was assembled in 2015 through piecemeal acquisitions and demolitions by developer Lightstone group. Construction began in late 2017, well before the official renderings were released. The building’s location near the Brooklyn Bridge will afford many of the residents unobstructed views of the East River from the 244 light-filled units, which includes interiors also designed by Adjaye Associates. Residents of the luxury tower will also have access to a number of amenities, such as a black-tiled swimming pool with grandiose windows, a fitness center, a pet spa, shared outdoor spaces, a rooftop observatory, and not least of all, reportedly an IMAX theatre. According to City Realty, city paperwork also suggests that there will be ground-level retail and a plaza park, embedding the tower within the urban landscape below. David Adjaye has been ramping up the firm's presence throughout Manhattan as of late, including the Studio Museum in Harlem and the recently completed SPYSCAPE museum in Midtown.
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Adjaye Associates unleashes spy museum on Midtown Manhattan

Spying—on your neighbors, on random strangers, on your ex-partner's new partner—can be kind of fun. Now, there's a whole Manhattan museum dedicated to the fine art of surveillance, deception, and decoding. Adjaye Associates designed SPYSCAPE, a new 60,000-square-foot museum in Midtown Manhattan that opened its doors to secret-seekers on Friday. Developed in concert with former intelligence officials and hackers, the building is decked out in what the New York– and London-based firm is calling "the architectural language of the most prestigious spy organizations:" materially, that translates to black linoleum, grey acoustic paneling, and dark fiber cement across a series of glass boxes that hold exhibitions while fragmenting the viewer's sense of space. Outside, the facade is covered in dot-and-pixel vinyl, which provides solar shading while keeping the inside shrouded from prying eyes. For $39, visitors can learn about history's most famous spies, climb through an agility-testing laser maze in one room and crack codes in another, or detect lies in special interrogation booths. At the end, the exhibition analyzes each visitors' skill set, Myers–Briggs-style, assigning each an intelligence job that best corresponds with demonstrated ability. With features like a 350-square-foot multimedia elevator and whiz-bang elements, the three-story SPYSCAPE's exhibits are ensconced by a futuristic palette—all cool blues and green. A bar, event spaces, and a rare book store round out the program. SPYSCAPE is open from 10:00 a.m.–8:00 p.m. daily. More information about the museum can be found here.
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David Adjaye reveals ‘sweeping’ Winter Park Library design

Sir David Adjaye was on hand last night to publicly present Adjaye Associates’ conceptual design for the new 34,000-square-foot Winter Park Library and adjacent events center. Announced in May, the $30 million project will be built on the northwest corner of Martin Luther King Jr. Park, in the Orlando suburb of Winter Park. In front of a packed crowd of 300 residents and public officials, the firm detailed its approach to creating a space that blurs indoor and outdoor usage while still preserving views of the nearby lake. The library, long and rectangular with enormous arched windows running the length of the building, stands apart from the plaza without blocking sunlight from passing through. The two-story library will have a stage, spaces for children of all ages, and historical components. A shorter, square version of the main building, the events center is angled to the library and cuts a triangular public space between the two that still allows for visitors to see the waterfront at all times. Capable of holding up to 300 people, the events center will also host a dining area on its roof. “It feels like somebody has found the perfect position and placed a beautiful tent,” said Adjaye. By angling the windows and sides of each building upward, Adjaye said that he hopes the buildings will shade the deck area in the summer, while still allowing enough sunlight through in the winter to keep the plaza warm. That same shape, he continued, would allow visitors to walk around the outside of each building while staying dry in the rain. The audience was enthusiastic about the renderings overall, but some had still had their concerns. A parking deck that had been previously mentioned was absent at Wednesday’s presentation. Mayor Steve Leary answered that planners for the city were currently working on adding a 220 car parking lot nearby, including 70 more spots than the city’s required minimum for a project of this size. Describing Winter Park Library as a “community campus” composed of complimentary forms, Adjaye said that he hopes his design will honor Winter Park’s past, present and future while preserving its natural environment. Orlando-based HuntonBrady Architects will be serving as the executive architects on the project, and Winter Park City Commissioners will hold a vote on proceeding with the current design on November 13th.
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Adjaye Associates and Ron Arad Architects to design UK Holocaust memorial

Today officials announced Adjaye Associates and Ron Arad Architects as the winners of an international competition to design a Holocaust memorial in London. The project, officially known as the Holocaust Memorial and Learning Centre, will honor the memory of the six million Jews murdered in the Holocaust, as well as the Roma, gay, and disabled people who were killed by the Nazis. Elected officials, rabbis, Holocaust survivors and their descendants presided over the design unveiling for the memorial and learning space, which will sit at the southern end of Victoria Tower Gardens, right next to the Houses of Parliament. The spaces will encourage reflection and understanding by educating visitors on the Holocaust and antisemitism and in turn using this understanding to explore other forms of hatred, such as Islamophobia and homophobia, as well as examine institutions' role in preventing hatred. The idea for a new memorial and education center was first floated in January 2015, following a survey that found growing public ignorance of the Holocaust and dissatisfaction with the memorial in Hyde Park. The design competition launched the following year, in September, and the ten finalists were announced this February. The labyrinthine design is meant to encourage individual reflection. At the end of each pathway, 23 tall bronze fins representing the 22 countries of origin of Jewish Holocaust victims will face visitors, who will enter the chamber alone. The routes eventually funnel into the contemplative Threshold. This segues into the underground Learning Centre, which includes a space where survivors' stories are shared, as well as reflective chamber with eight bronze panels which will be called the "Contemplation Court." “The complexity of the Holocaust story, including the British context, is a series of layers that have become hidden by time," said Sir David Adjaye, principal of Adjaye Associates, in a prepared statement. "Our approach to the project has been to reveal these layers and not let them remain buried under history. To do so, we wanted to create a living place, not just a monument to something of the past. We wanted to orchestrate an experience that reminds us of the fragility and constant strife for a more equitable world." The memorial is Adjaye Associates' latest high-profile public commission. In the U.S., the firm is best known for designing The National Museum of African American History and Culture in D.C., and it was just tapped to design an interactive spy museum in New York. The building's siting was meant to provoke intrigue from afar. On the approach, visitors will see the memorial's fins just over a green landform. The structure dialogues with a likeness of Emmeline Pankhurst and the Burghers of Calais, as well as the Buxton Memorial, three other statues and sites that interrogate injustice. Gustafson Porter + Bowman is collaborating with Adjaye and Arad on the landscape design.
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Adjaye’s Studio Museum, a view from Mexico City, and other updates from the architects of Instagram

At The Architect’s Newspaper, we’re plain addicted to Instagram. Sure, we love seeing Brutalist concrete through “Inkwell” or “Ludwig” filters, but there’s also no better place to see where architects are getting their inspiration, how they’re documenting the built environment, and where they’ve traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don’t forget to check out our Instagram account here.) Richard Meier & Partners unveiled a dual pedestrian and vehicular bridge in Alessandria, Italy, suspended from an enormous white steel arc. Sleek, Richard. https://www.instagram.com/p/BZgzzhAAhEe/?taken-by=richardmeierpartners Adjaye Associates released new, more detailed renderings for the new home of the Studio Museum in Harlem this week – along with this gorgeous model (via Field Condition). The five-story building block structure will increase the museum's space by 115 percent. It will break ground next year. https://www.instagram.com/p/BZg5koFFWWi/?taken-by=field_condition Not to over-saturate your feed with Iwan Baan, but he's just ... so good at what he does. Here, an aerial of BIG's big new LEGO House in Billund, Denmark – a terraced, colorful playground for adults and children alike. https://www.instagram.com/p/BZl7egsBk2t/?taken-by=iwanbaan Any excuse for a garden wall. Steven Holl Architects here tried a mock-up vertical sedum for the Kennedy Center expansion.  https://www.instagram.com/p/BZWMirrAprB/?taken-by=stevenhollarchitects You thought you could escape Thomas Heatherwick for a second – but here he is again, haunting your weekend. The Heatherwick-designed Zeitz Museum of Contemporary Art Africa opened in Cape Town last week, featuring immense sections cut out of concrete grain silos to form a central atrium. We demand receipts. https://www.instagram.com/p/BZV0CXohcx9/?taken-by=zeitzmocaa Finally, from Mexico City-based architect Michael Rojkind and his firm Rojkind Arquitectos, a sobering view of the future of reconstruction needed in the aftermath of the city's most recent earthquakes. He will be at a MAS Context fundraiser in Chicago to provide an update from Mexico City. https://www.instagram.com/p/BZha3qXF0M_/?taken-by=rojkindarquitectos That’s it for today, hashtag archilovers and quote-on-quote gallerinas. See you next week for more drama.