In a generous and surprising nod to the Chicago School of Architecture, David Childs with Skidmore, Owings & Merrill has designed two sister towers in terracotta and glass for the former site of the Chicago Spire. Announced Tuesday night at a community meeting by developer Related Midwest, renderings for the development show two towers rippling upwards, set upon a masonry base resembling a rectangular photo carousel. Taking inspiration from some of the cities’ most significant buildings, Childs has covered the towers in a familiar architectural form–the Chicago Window–with setbacks allowing for pivot after pivot of the form in various multiples as the building reaches higher. Glazed terracotta became a way for turn-of-the-20th-century Chicago architects like Louis Sullivan, Daniel Burnham and William Le Baron Jenney to craft ornament that could be designed to exact specifications and made hollow, allowing them to decorate the tops of buildings. Topping off at 1,100 feet, the south tower will be constructed adjacent to the riverwalk and will offer 300 condominiums and a 175-key hotel. The north tower will offer 550 apartments and will be aligned with the Ogden slip, at 850 feet tall. A shared podium will provide pedestrian and vehicular accesses for both towers. Parking will be delivered via four underground levels. In addition to luxury offerings, Related Midwest has committed to realize the completion of a long-awaited public park on a rectangular piece of vacant land, separated by Lake Shore Drive. The creation of DuSable Park will honor the legacy of Chicago’s founder, Jean-Baptiste Pointe DuSable, and realize the vision of Mayor Harold Washington for public space atop what was once a site contaminated with thorium from the manufacture of incandescent gaslight mantles. Plans for the development, currently known as 400 North Lake Shore Drive, do not specify how the construction will address what remains of the Chicago Spire, a 78-foot-deep, 104-foot-wide underground cofferdam that sits below what will be the south tower. Construction of the towers is anticipated to take four and a half years.
Posts tagged with "David Childs":
Developer Related Midwest has announced plans to construct two skyscrapers on the former site of the Chicago Spire, with Skidmore, Owings & Merrill’s David Childs at the design helm. While renderings for the project have yet to be released, the Chicago Tribune reports that the site calls for two multi-functioning towers, each clad in glass with setbacks that taper towards the sky. Currently known only by its address, 400 North Lake Shore Drive, the project details are to be unveiled by Related Midwest on Tuesday at 7 pm during a community forum hosted by the Streeterville Organization of Active Residents at the Sheridan Grand Chicago. Thus far, the plans call for an 850-foot tower at the northern edge of the site along the Ogden Slip, and a 1,000-foot tower located at the southern edge of the site. The shorter tower will house apartments, with the taller tower to include condominiums and hotel rooms. Both towers will be located on a podium with building amenities. The high rises will take up more space on the site than the Chicago Spire originally called for. Along with the plan for the Spire site, Related Midwest has provisionally agreed to fund a portion of the construction of DuSable Park, a rectangular 3.3-acre parcel of land east of Lake Shore Drive. First dedicated as open space by Mayor Harold Washington in the 1980s, Related Midwest has not indicated if or how the park will relate to the towers. Most notably, Related Midwest has not specified how the construction will address what remains of the defunct Chicago Spire, now a 78-foot-deep, 104-foot-wide cofferdam over a decade old, the beginnings of a 2,000-foot unicorn horn shaped supertall building designed by Santiago Calatrava. If constructed as planned, the Spire would have been the tallest structure in the country. Related Midwest recently released renderings for a 62-acre Near South Side development they are calling "The 78," a serious of mixed-use, multi-phase structures built atop the largest undeveloped piece of land along the Chicago River. David Childs, a consulting partner in the SOM New York Office, is best known for designing One World Trade Center. Other work by Childs includes 7 World Trade Center, The Times Square Tower, and the U.S. Embassy in Ottawa.
Earlier this week, AN went up to the 67th floor of the recently-opened 4 World Trade Center to get a progress report on the 16-acre redevelopment taking shape below. Inside the wide-open and raw space, Larry Silverstein, the site’s developer, told reporters that his vision for a new World Trade Center had finally become a reality. “I’ve gotten a bit of a reputation as a wild-eyed optimist,” he said in front of a wall of windows. “But even I have to admit that I didn’t see all this coming.” Noting that it had been 13 years since the attacks, he went on to refer to the anniversary as the site’s “bar mitzvah.” From high up in Fumihiko Maki’s celebrated 4 World Trade it’s easy to see how much has changed at the World Trade Center site over those 13 years—and how much still needs to get done. Looking straight down the tower’s western edge, you can see the pools of the 9/11 Memorial Plaza which opened in 2011 and the adjacent 9/11 Memorial Museum that came on-line three years later. Next to that is Calatrava’s bird-like transportation hub where workers could be seen busily welding on the structure's skeletal wings. That project is scheduled to open in the second half of 2015, years behind schedule and at a cost of nearly $4 billion. A few blocks north of the winged creature is 7 World Trade, the David Childs–designed building that opened in 2006 and is fully leased. Across Vesey Street is another Child's tower—the site’s centerpiece—the 1,776-foot-tall One World Trade. After years of delays, the building is expected to open some time this fall. As of now, the tower is about 60 percent leased. The same can be said for 4 World Trade. "I am both humbled and inspired by the process. It is never an easy process, and why should it be?" asked Daniel Libeskind, who crafted the site's masterplan. "This is New York City, there are so many stakeholders, so much to be done, and so much to think about." But there is obviously so much more to be done still—so many missing pieces in Libeskind's plan. Just this month, the board of the World Trade Center's performing arts center announced it had scrapped Gehry's decade-old design for the project. The board told the New York Times that is currently looking for a new architect to take over. And then there is Calatrava's other project at the site, the new St. Nicholas Greek Orthodox Church, which is still a few years off. While looking straight down from 4 World Trade shows how much has been rebuilt since 9/11, looking straight out reveals how much has not. The Midtown skyline that served as a backdrop for the event's speakers may have been impressive, but it was a blatant reminder of what has not been accomplished since the Twin Towers came crashing down. Because, at this point in the reconstruction process, employees in 4 World Trade Center shouldn’t have an entirely unobstructed view of Midtown—there should be two other glass towers in the way: 3 World Trade by Richard Rogers and 2 World Trade by Norman Foster. Silverstein said that the former should be completed by 2018, but as for 2 World Trade Center, it’s anyone’s guess. In a fact sheet distributed by representatives of Silverstein Properties, the tower's completion date is conspicuously left off.
Move over, Willis Tower. The Council on Tall Buildings and Urban Habitat (CTBUH) issued its official ruling Tuesday: New York’s One World Trade Center unseats the Chicago skyscraper as the tallest building in the Western Hemisphere. The new tower’s symbolic height of 1,776 feet was called into question when a design change suggested it might achieve that elevation only through the addition of a removable broadcast antenna. CTBUH counts only structural elements that are considered an integral part of the building’s aesthetic. It was designers Skidmore, Owings & Merrill’s assertion that 1 World Trade Center’s communications equipment represented a permanent architectural feature that persuaded CTBUH to affirm its height. The bottom point of the building was also in dispute. Without antennae, 1 World Trade Center is 1,368 feet tall — the height of the original World Trade Center tower destroyed in the 2001 terrorist attacks on Sept. 11. Chicago’s Willis Tower (also an SOM building), still commonly referred to as the Sears Tower, stands 1,451 feet tall — 1,729 feet tall with antennas. It was the tallest building in the world until 1996, when the Petronas Twin Towers in Kuala Lumpur, Malaysia, won CTBUH’s recognition.
October is upon us, which means that the Chicago edition of Facades+ PERFORMANCE is only a few weeks away! Be there as leading innovators from across the AEC industry converge on Chicago from October 24th and 25th at AN and Enclos' highly anticipated event to discuss the cutting-edge processes and technologies behind the facades of today’s most exciting built projects. Don't miss your chance to take part in our groundbreaking lineup of symposia, keynotes, and workshops, and work side-by-side with the design and construction visionaries who are redefining performance for the next generation of building envelopes. Our Early Bird special has been extended until Wednesday, so register today to save on this unbeatable opportunity! Join Neil Meredith of Gehry Technolgies as he examine the relationship between digital design methodologies and real-world construction and fabrication constraints in the complex, wooden ceiling of the Burj Khalifa’s lobby. With representatives from Thornton Tomasetti and Imperial Woodworking, Meredith will lead an intimate, interdisciplinary discussion of the innovative, on-site solutions that his team developed in order to deliver one of the most visible features of the world’s tallest building, so don’t miss out on this rare opportunity! With the deadline fast approaching, Mederith and his team at Gehry Technoligies worked with SOM, Imperial Woodworking, and Icon Integrated Construction to develop new systems, mid-construction, for the design and fabrication of the large, double-curved, wooden ceiling of the Burj Khalifa. Coordinating the work of architects, fabricators, and construction professionals through complex, shared parametric models, Meredith redesigned the ceiling system from the ground up using pre-fabricated, unitized panels to create its astounding, wooden forms. Join in the discussion to hear the rest of this dramatic AEC industry saga in the not-to-be-missed dialog workshop, “Designing for Wood Fabrication in Complex Geometries: The Burh Khalifa Ceiling,” and learn the technologies and techniques behind the creation of this historic project. After earning his Masters in Architecture from Univeristy of Michigan Taubman College of Architecture and Urban Planning, Neil Meredith taught and ran the Digital Fabrication Lab at his alma mater. Meredith earned hands-on experience with cutting edge design technologies and real-world construction challenges with Detroit-based design/build firm M1, the European Ceramic Workcentere in Holland, façade consulting office Front, and as founding partner of design and fabrication studio Sheet. In 2007 Meredith joined up with Gehry Technologies, the go-to design technology and consulting company for the industry’s leading architects. Through the pioneering use of the latest digital tools and processes, Gehry Technolgies has worked with world-class, visionary architects, like Zaha Hadid, David Childs, Jean Nouvel, and of course Mr. Gehry himself, to triumph in the realization of the truly innovative forms of some of the era’s most ground-breaking projects. Register for Facades+ PERFORMANCE today to take part in this and other exciting workshops and symposia. Featuring representatives from SOM, Morphosis, Thornton Tomasetti, and other industry-leading firms, this is one event that is not to be missed. Check out the full Facades+ PERFORMANCE site for the schedule of events and book your tickets now to start the next chapter in your professional career!
The Durst Organization and the Port Authority of New York & New Jersey released a handful of new interior and exterior renderings of a value-engineered version of original designs for One World Trade. Clearly the long-term maintenance argument won out over David Childs' proposal for a sculpture-clad spire instead of a simple antenna. The resulting design seems far more efficient, if not aesthetically complete. Noticeably absent is Silverstein's yet-to-be-leased towers Two and Three, which won't rise until an anchor tenant is found. But neither collapsed cranes or a fire this morning will slow the tower from its relentless climb.
Until about the mid 20th century, there was a tradition for New York’s urban landscape painters to split time between New York and Paris. It was not uncommon for collectors to hang dual streetscapes side by side. It’s surprising then to see the digitally inflected work of Robert Neffson tweak the tradition for the 21st century. Neffson’s paintings of 57th Street and Notre Dame embrace a multimedia studio process for hyperrealistic results. The paintings build on digital photo technology which, through a series of stitched individual images, bring 180 degree perspectives into a single frame. It's similar to the process David Hockney employed at his recent Royal Academy show in London. But while Neffson's extreme perspectives could be perfected in Photoshop, the paintings’ plein air quality lends the stretched sightlines an honesty that digitally stitched panoramas lack. With an awareness of contemporary photography (Gurszky, Struth, and Crewdson), Neffson said he wants to take painting a step beyond, while maintaining an eye for the ordinary. His appreciation for architecture extends to its “anthropomorphic qualities” and how buildings “can be used as expressions of human emotions,” he wrote in an email. Neffson begins by selecting the site, then revisiting it at different times of the day and year. Crowd and cloud formations are studied. Thousands of photos are shot. A comfortable spot is found and the sketching begins. Eventually all the material is taken back to the studio, where 180-degree pan gets finessed into a concise view. “I’m looking for a perfect moment,” he said. “It has to do with significant architecture so that there are associations and not just for me.” Neffson’s work will be on view at Bernarducci Meisel through April 28th.
Frank Gehry is trying to save architecture, and it's about time. His company Gehry Technologies, which provides technology and related services to design and construction firms, on Tuesday announced a plan to bring together "the world's most distinguished architects" in a "strategic alliance" intended to transform the building and design industries through technology. In other words they've put together a really impressive advisory board. The list of architects, designers, and business leaders includes: David Childs, Zaha Hadid, Greg Lynn, Laurie Olin, Wolf Prix, David Rockwell, Moshe Safdie, Patrik Schumacher, and Ben van Berkel. That's no joke. Among other things, the group will strive to promote higher quality projects, greater efficiency, and more cost effective techniques. "We have a tremendous opportunity to be better and more efficient," said Gehry Technologies CEO Dayne Myers. He and Gehry Technologies' Chief Technology Officer Dennis Shelden suggested that the group, which will meet in person once a year and via conference call quarterly, could address the industry's crippling wastes in time, money, and materials by promoting better work flow and communication, among other things. "When this group speaks it's going to carry a bigger weight than any of them individually, or just Gehry Technologies," added Shelden. Kicking things off the company just announced a partnership with Autodesk to improve the capabilities of Building Information Management (BIM). In an unprompted statement from the AIA, which offered its support as well, AIA President Clark Manus pointed out that "as much as 30% to 50% of all time, money, materials, and resources that go into a construction project do not add value to the final product." That's impressive too, just not in a good way.
Prismatic Schmatic. After the NYPD criticized the security measures at One World Trade back in 2005, David Childs responded by losing the glass on the bottom 20 floors and creating a bunker like base to be hidden behind prismatic glass panels and welded aluminum screens. Now the Times reports that plan has to be scrapped because the Chinese manufacturer can't prevent the prismatic panes from bowing. Childs is back at the drawing board. Green Empire. Sustainable Cities says that LinkedIn signed a 31,000 square foot lease at the Empire State Building because it's too green to pass up. The building is undergoing a $550 million makeover and shooting for LEED Gold. Via Planitzen. Say It Ain't So! Gothamist reports that Coney Island is going concrete, or at least part of the famed boardwalk is. The community board has decided to allow a 12-foot wide concrete path for vehicular traffic to run straight down the middle of the famed wooden way. Critic Shortage. The LA Times' Christopher Hawthorne took to the pages of Architectural Record bemoaning the damage "internet culture" has done to criticism. He takes aim at bloggers in particular, though he allows that Geoff Manaugh's BLDGBLOG is a stand out. But for every BLDGBLOG there are ten whose work is "overlong, prone to self-absorption, and still struggling to get a handle on the it’s/its dilemma — appears to exist only to prove the old adage that it’s the editor who makes the writer." Via Archnews.
Witold Rybczynski, smart writer, stupid article. Last Thursday, Slate's respected architecture critic weighed in with the dubious notion that the shorter in height, the greater the architect. This silly notion has gone viral on the web, and we felt it was our job to rebut it with some tall figures. Here they are.
The Brooklyn Paper bumped into David Childs last week, during the opening of his SOM colleague Roger Duffy's new Toren condo tower, and the BKP is reporting the surprising news that both could possibly be working on some of the 16 residential towers proposed for Bruce Ratner's nearby Atlantic Yards development.
“First, he brought me in to look at the arena design, which I think is very good now,” Childs said, referring to the current design collaboration between Ellerbe Becket and SHoP Architects. “And then we talked about working together on the residential buildings,” added Childs.A Ratner spokesperson acknowledged Childs' discussions with Ratner to the Paper but called speculation on their future together "premature." While critics still question whether those towers will ever get off the ground, the project, or at least the arena, is closer than ever to reality. A groundbreaking is scheduled for tomorrow, following a court ruling last Monday affirming the state's right to seize land from the project's remaining holdouts, most notably Dan Goldstein of Develop Don't Destroy Brooklyn and Freddie's bar. The groundbreaking is to be attended by the likes of Mayor Michael Bloomberg, Borough President Marty Markowitz—both long-time supporters of the project—as well as Governor David Paterson and rapper and Nets-part-owner Jay-Z. Goldstein and Freddie's are holding a counter-groundbreaking, where they say they will bury the soul of Brooklyn, along with 3-foot-tall bobbleheads of the aforementioned public figures. Whether this will finally manage to stop the contentious project remains to be seen, but it's bound to make for good street theater. UPDATE 3/11: The Brooklyn Paper is also reporting that the final lawsuit pending against the project, over the state's revisions to the scope of the project, came down in Ratner's favor yesterday. And so the fait accompli has been accomplished.
On May 4 at the Urban Center, Peter Eisenman and Michael Graves had a conversation, moderated by David Childs, about their favorite books to inaugurate the exhibition, Unpacking My Library. In the light of the current crisis that the print media is experiencing, listening to these legendarily erudite bibliophiles was a rare privilege. But the evening was not without controversy. Besides stories of rare books they have encountered and how architecture was taught back in the day, they engaged in a polemic discussion about current trends in architectural education, especially the risk of turning architecture schools into places that only teach computer programs and LEED rules. Both Eisenman and Graves called for a return to traditional Western education and questioned new methods that Eisenman referred as pluralist: “You can’t study the periphery if you don’t know the core,” he told AN. The discussion reminded me of my first day at architecture school, in which a bunch of us, fresh out of high school, were asked to write what we thought architecture was. Naturally, untainted by the six years of heavy theory and history we had yet to endure, we had no clue how to even begin to address the question. What is architecture? What makes it good or memorable? How can you tell good architecture versus mediocre? Eisenman reminded us that we know Palladio for his compilation of drawings and manuscripts, that Robert Venturi’s built oeuvre wouldn’t be taken as seriously if it wasn’t for Complexity and Contradiction in Architecture, or that LeCorbusier’s white houses wouldn’t be any different from others built all over France in that period if not for Vers une Architecture, and that Koolhaas started to be Koolhaas after Delirious New York. But what about Phidias, Brunelleschi, Wright, or Mies? I believe there are a great number of Masters in the Western tradition (we don’t want to risk being labeled as pluralists by Mr. Eisenman) that have earned their place by their built masterpieces and not by their written work. It is true that good books are a delight to own and a great source of inspiration, but it is altogether different to encounter a building that that makes your heart skip a beat, signaling you are in the space of a Master.