Posts tagged with "David Chipperfield":

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Heavy hitters of U.K. architecture declare a “climate emergency”

A group of 17 architecture firms from across the United Kingdom, including Foster + Partners, Zaha Hadid Architects, David Chipperfield Architects, Rogers Stirk Harbour + Partners, released an open letter affirming their commitment to heading off climate change and building a more equitable future for their profession. The planet is in "twin crises," the letter declares, under the heading "UK Architects Declare Climate and Biodiversity Emergency." The full list of founding signatories, all 17 of which are RIBA Stirling Prize winners, is as follows: Alison Brooks Architects; Allford Hall Monaghan Morris, AL_A, Caruso St John Architects, David Chipperfield Architects, dRMM, Feilden Clegg Bradley Studios, Foster + Partners: Haworth Tompkins, Hodder + Partners: Maccreanor Lavington, Michael Wilford, Rogers Stirk Harbour + Partners, Stanton Williams, WilkinsonEyre, Witherford Watson Mann, and Zaha Hadid Architects. Together, the group declared that as the construction and maintenance of buildings account for 40 percent of the world’s energy-derived carbon dioxide production, the architecture and construction industries have a responsibility to change their practices. Their list of demands compiles practical changes that can be taken to mitigate further climate change, and to stem the ecological destruction that comes with new construction and urban sprawl. “For everyone working in the construction industry,” reads the Architects Declare statement, “meeting the needs of our society without breaching the earth’s ecological boundaries will demand a paradigm shift in our behavior. Together with our clients, we will need to commission and design buildings, cities, and infrastructures as indivisible components of a larger, constantly regenerating and self-sustaining system.” Those measures include collaborating with engineers, clients, and contractors throughout the project’s lifecycle to reduce waste: retrofitting older, existing structures instead of razing them for new construction whenever possible; enacting whole-lifecycle carbon and occupancy analysis; minimizing waste; sharing knowledge with colleagues whenever possible on best practices; incentivizing climate change and biodiversity loss mitigation through awards, and many others. At the time of writing, 155 U.K.-based firms had signed the pledge. Earlier this week, Foster + Partners became the first architecture studio in the world to sign on to the Net Zero Carbon Buildings Commitment, meaning that all of their projects would be carbon neutral by 2030.
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David Chipperfield finishes hillside museum in eastern China

David Chipperfield Architects has recently finished a new museum in Anji outside Dipuzhen in eastern China that comprises a set of interlinked bars in a "red ochre" color that references local clay earth. The facility will be a branch of the Zhejiang Museum of Natural History when it opens this spring. The museum's rectangular galleries step down its hillside site and are connected by a loggia that encloses an interior courtyard. The galleries have roughly the same grand height and width but vary in length, bringing some diversity to the exhibition spaces. Altogether, the museum will enclose about 624,000 square feet. When fully landscaped, the complex will include green roofs and water features that, along with the ruddy color, will connect the building to its subtropical setting. German firm Levin Monsigny Landschaftsarchitekten and local firm Zhejiang South Architecture Design Ltd. worked on the landscape design.
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Chipperfield's Nobel Center and 2026 Olympic bid cancelled by Stockholm

The shutdown of the Foster + Partners–designed “town square”–style Apple store in Stockholm by the new City Council was only the beginning. Now, the city won’t appeal a decision on May 22 by Sweden’s Land and Environment Court to halt construction of the $132 million Nobel Center, effectively dooming the David Chipperfield Architects–designed complex. Stockholm’s bid for the 2026 Winter Olympics has also been halted, leaving only Calgary and a joint bid between Milan and Cortina d'Ampezzo remaining on the shortlist. The shift is the direct result of the new center-right coalition established in the City Council between the right-leaning Alliance group and the Green Party following an election on September 9 that left the council without a majority group in power. The new power-sharing agreement was only realized in mid-October owing to the more than eight active major parties in Sweden's national politics. The coalition was predicated on two major deals: blocking the Winter Olympics bid and stopping the Nobel Center. This isn’t the first time that Chipperfield’s Nobel Center has faced pushback from the city government, and a revised, more contextual design was presented back in 2016. Opponents have argued that the Center, formed from two stacked boxes wrapped in vertical bronze louvers, would destroy the cultural and historic fabric of Stockholm’s Blasieholmen peninsula. The Blasieholmen extends into the Klara Sjö canal, and the Center would have oriented its double-height presentation out toward the waterfront to provide a permanent home for all future Nobel Prize award ceremonies. Despite the smaller footprint and a tighter circulation plan, the court ruling in May dinged the proposal for the building’s size, out-of-context color, and sensitive location. Now that the City Council has pledged to let the ruling stand, the Nobel Foundation is crying foul. “For the past seven years, we have acted in accordance with our agreements,” Foundation executive director Lars Heikensten told the Architects’ Journal. “We interpret today’s announcement as meaning that the Alliance, in co-operation with the Green Party, is trying to diverge from signed agreements. “A project of major, long-term significance for Stockholm as a city of science and a center for lively discussion in the spirit of Alfred Nobel is thus at risk of being sacrificed to short-term political interests.” David Chipperfield Architects released their own statement, saying that, “The project for the Nobel Centre has been developed over the last five years through a process of continuous dialogue between the client team, planners and the city authority. We are, therefore, extremely disappointed by this announcement.” If Stockholm’s city government ultimately decides not to challenge the lower court’s ruling, the Nobel Foundation will need to go back to the drawing board and choose an alternate location for the Center.
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Traveling to Berlin? Here are some of our top picks for the design-minded

For those who want to take in history, design, and nightlife, Berlin is the place. Visiting and want to take in some of the sights and sounds? Or on a trip for the Bauhaus centennial? The city has something to offer everyone, and AN has compiled a list of what those with design on the brain should check out. The Chipperfield Kantine Joachimstrasse 11 10119 Berlin Mitte Rosenthaler Platz The office of English architect David Chipperfield is inside of a converted piano factory in Mitte. The redbrick building sits behind a spare, bright white courtyard where the architect has designed a beautifully detailed concrete box that also houses the restaurant Kantine. A reasonably priced menu of fresh local products served on spare Chipperfield-designed tableware—it is the best lunch spot in the city. Trouvé Schwedter Strasse 9 10119 Berlin trouve-berlin.de This store is a fantasyland of objects for architects and designers. Its owners, Michel Vincenot and Sabine Riedel, source lighting, seating, storage, tables, and graphics by preeminent European designers of the 20th century: Carlo Scarpa, Gio Ponti, Achille Castiglioni, Christian Dell, and German designers from the Bauhaus. This Wilhelm Wagenfeld glass tea service is 200 euros (approximately $233). Hotel Oderberger Oderberger Strasse 57 10435 Berlin hotel-oderberger.berlin A Neo-Renaissance-style hotel over a 19th-century public swimming pool makes this a very Berlin experience. It’s reasonably priced, and surrounded by cafes, bars, the trendy shopping street Kastanienallee, and Mauerpark. The park is also a unique “free park” where all sorts of public gatherings go on through the night, and the grass is untended, as Berliners don’t want chemicals used to maintain any public landscape. Topography of Terror topographie.de Berlin has multiple reminders of its fraught and charged history. Peter Eisenman’s Memorial to the Murdered Jews of Europe and Daniel Libeskind’s Jewish Museum are powerful design statements, but equally powerful and less well known is the Topography of Terror Museum. On the site of what was once the headquarters of the Nazi Secret State Police, SS, and Reich Security, it was designed in 2010 by Ursula Wilms and landscape architect Heinz Hallmann. It is a truly frightening architectural experience. The Paris Bar Kantstrasse 152 10623 Berlin parisbar.net A bright red neon sign over the entrance announces The Paris Bar, the legendary Charlottenburg late night art bar. Its walls are covered with art from its regular patrons. Several years ago, it had to auction off its Martin Kippenberger for $3 million to pay back taxes. It’s the Odeon of Berlin, and its steak frites are the best in the city—but unlike its New York counterpart, it can’t make a decent martini. Pauly Saal at Jewish School for Girls Auguststrasse 11–13 10117 Berlin paulysaal.com maedchenschule.org Alexander Beer was the chief architect for the Jewish community of Berlin, and in 1927 he designed a girls’ school at Auguststrasse 11-13 in Mitte. It is a rare example of the modernist Neue Sachlichkeit style, with beautifully crafted materials. The school was eventually closed, Beer died in a concentration camp, and the building was confiscated by the government. The school was repurposed in 2012 as the Center for Art and Dining Culture, which is open to the public. Besides art galleries, it holds a New York delicatessen, Mogg & Melzer, and the pricey but excellent Pauly Saal Restaurant.
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David Chipperfield's Nobel Center is blocked by Swedish court

After the revised scheme for David Chipperfield’s Nobel Center in Stockholm sailed through a city council vote in 2016, Sweden’s Land and Environment Court halted construction on the project on May 22. The $132 million complex was set to break ground on Stockholm’s Blasieholmen peninsula and would serve as a permanent home for all Nobel Prize ceremonies going forward. Chipperfield’s revised design, presented in 2016 to address concerns that the Nobel Center would be too large for the historically sensitive district in which it sits, would see two stacked boxes wrapped in vertical brass louvers dropped right on the waterfront. Although the project passed an additional vote by the Stockholm County Administrative Board last year, the ruling has put a hold on construction over the building's size, color, and sensitive location. The City of Stockholm will reportedly appeal the decision to a higher court. In ruling against the Center’s construction, the court wrote that the building would have a negative impact on the area’s cultural heritage, claiming it would “cause significant damage” to the district’s environment, and “would affect the readability of Stockholm's historical development as a port, shipping and trading city.” Inside, Chipperfield’s scheme for the Center is anchored by an large sunken stage overlooking the Klara Sjö canal, framed by an enormous double-height window bay. When Nobel Prizes aren’t being awarded, the building would be used to host lectures, science-related seminars, regular exhibitions, and other important ceremonies. While the project might be temporarily stalled out, Chipperfield Architects released a suite of new interior renderings right before the ruling came down. The new images reveal the Center’s finalized interior layout and a surprisingly stark choice of materials. The Center’s smaller footprint has necessitated a tighter layout, and from the renderings, it appears that the building will be precisely programmed, with circulation moving around a central void between floors. Chipperfield has chosen to use raw concrete and will keep the building’s structural elements exposed, from the floor joists over guests’ heads to the concrete columns that break up the circulation areas. Even the sunken theater appears to be paneled in precast concrete (no word on how that might affect the acoustic properties). AN will follow up on this story as the case proceeds.
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Adjaye, BIG and DS+R reveal shortlist designs for Adelaide Contemporary

On May 11, Arts South Australia’s design jury revealed the design proposals from the six shortlisted teams selected in the Adelaide Contemporary International Design Competition, a planned art gallery and sculpture park in Adelaide, Australia. The 160,000 square-foot Adelaide Contemporary will house a significant portion of the Art Gallery of South Australia’s 42,000 piece collection, which currently only has a fraction on display due to a lack of space. The museum will draw upon its substantial Aboriginal collection to create the Gallery of Time, which will combine indigenous pieces with European and Asian works. This shortlist's designs follow.  Adjaye Associates & BVN’s design draws upon Aboriginal vernacular architecture through the use of a surrounding canopy, providing shade in one of the more arid corners of the country. With the canopy screening significant portions of the four elevations, the design will largely use skylights and balconies to filter natural light into the central atrium and stairwell. With a twisting, serpentine layout, Bjarke Ingels Group (BIG) & JPE’s proposal is inspired by Aboriginal sand painting, which often embeds abstract natural elements within a landscape. Through the use of rooftop landscaping, the team hopes to integrate their design with the adjacent Botanic Garden. David Chipperfield and SJB Architects’ is the only timber structure proposal. The principal elevations are composed of wooden screens, and the structure is topped by sloped roofs. In a statement, Diller Scofidio+Renfro & Woods Bagot describe their proposal as a “matrix of unique spaces unbound by disciplinary categories range in size, height, infrastructure, and light quality.” The bulk of exhibition space is located on the second story, which is cantilevered over an outdoor gallery and public square. Hassell & SO-IL incorporate a central plaza into their design proposal, which the team describes as an attempt to bring “nature, art, and people together.” The central plaza serves as a circulation node and public square connecting the gallery’s semi-independent spaces, which are further laced together by a draped, metal brise-soleil. Khai Liew, Ryue Nishizawa & Durbach Block Jaggers proposal consists of a sweeping, perforated canopy supported by a series of pilotis. Beneath the canopy, the site is split roughly evenly between park and curatorial space, the latter presenting sweeping views of the adjacent Botanic Garden. Arts South Australia’s design jury will meet again in May, with a winner expected to be announced in June.
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Adjaye, DS+R, Ryue Nishizawa and SO-IL on shortlist for Australian contemporary art museum

Adjaye Associates, SO-IL, BIG, and Woods Bagot are among the 13 firms the Government of South Australia has selected to produce concept designs for a new contemporary art museum in Adelaide, South Australia's capital.

The Adelaide Contemporary International Design Competition, as it is officially known, asked firms to design both a museum and public space for events around the future Adelaide Contemporary, which will be part of the Art Gallery of South Australia (AGSA) network.

The six chosen teams, a mix of Australian and international firms, are now at work on concept designs that will be revealed to the public in April 2018, right before the competition jury convenes. London's Adjaye Associates was matched with Sydney's BVN, while SO-IL and Melbourne's HASSELL are working together on a concept. BIG – Bjarke Ingels Group (Copenhagen) and JPE Design Studio (Adelaide) are paired up, as is Diller Scofidio + Renfro (New York) and Woods Bagot (also from Adelaide). London's David Chipperfield Architects and Sydney's SJB Architects working together on the design, and a team of three firms—Khai Liew (Adelaide), Office of Ryue Nishizawa (Tokyo) and Durbach Block Jaggers (Sydney)—makes up the final grouping. The firms were selected in the competition's first stage from over 100 teams (525 firms) representing five continents. To create the final teams, organizers paired international winners with shortlisted Australian firms. "This is an extraordinarily rich list of diverse creative partnerships of architects looking to complement their talents by working with both peers and smaller talented practices. There is a strong thread of Australian professional expertise running through the entire list with Australians taking both equal and collaborative positions," said Nick Mitzevich, director of AGSA, in prepared remarks. "The six teams all showed a strong connection with Adelaide—and understood that our aim is not to create an off-the-peg architectural icon but a piece of Adelaide, an entity that will be sustainable and polymathic in the way it enhances the social, cultural and architectural fabric of the city." The final jury will be announced in early 2018.
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Isay Weinfeld–designed Fasano hotel in Miami Beach is canceled

The first stateside incarnation of the Fasano hotel chain by Brazilian designer Isay Weinfeld has been canceled by the developer, HFZ Capital Group. The Fasano Residences Miami Beach, as the project was called, was a planned conversion of Miami Beach’s iconic Shore Club property into a combination hotel and condominium. The Brazilian hospitality company is well-known for its luxury hotels in Brazil, including in Rio de Janeiro, São Paulo, Punta del Este, and Boa Vista. The project had already experienced delays due to communication issues between brokers and HFZ and a slowing residential real estate market, with only 40 to 45 percent of the 67 residential units pre-sold so far, even though the project was originally slated for completion in 2018. The Shore Club has a long history in Miami Beach, and includes both art deco and midcentury modern mid-rise buildings as well as a postmodernist tower designed by British architect David Chipperfield during the resurgence of South Beach in the 1990s. The design by Isay Weinfeld would have enclosed the slender white Chipperfield tower with its dramatic rooftop space inside a boxy cage-like enclosure that looked remarkably like a giant Sol LeWitt sculpture. The elaborate gardens and pools, also designed by Chipperfield, and the setting of many a legendary Miami Beach bacchanalia over the years, would also have been replaced with a gigantic, minimalist pool that would have been one of the largest in all of Miami Beach. Project broker Jay Parker told The Real Deal that HFZ is currently returning deposits to buyers and has yet to determine whether they will re-launch the project as planned or as a new development. Even though the property “has been deteriorating in anticipation of the project,” as The Real Deal put it, it has been operating under the Morgans Hotel Group flag and will continue to do so.
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David Chipperfield to create master plan for Minneapolis Institute of Art

The Minneapolis Institute of Art (Mia) has announced that it has hired London-based David Chipperfield Architects to create a master plan for the future of the museum. The long-term project is aimed at expanding “the community’s access to the museum as a community resource.” The need for a master plan was brought on by the museum's growing attendance and collection. Chipperfield’s office will take on expanding art storage and public gathering spaces, as well as improving parking facilities. The interior of the museum will also be affected by a reassessment of the visitor circulation and an update to the museum's restaurant and auditorium. “We are thrilled to work with David Chipperfield,” said museum director and president Kaywin Feldman in a press release. “Mia has seen tremendous growth in recent years, with repeated record-setting visitor numbers. Our growing collections, innovative exhibitions, and accessible public programs have fueled this growth, and we want to ensure we have the facilities needed to provide inspiring visitor experiences as we embrace an ever-broadening, diverse audience.” Mia’s collection spans 5,000 years and over 89,000 works. The museum was established in 1883 in downtown Minneapolis, Minnesota, and is one of the largest fine arts museums in the United States. As a government-funded public museum, no admission is charged for entry, except for special exhibitions. The selection of David Chipperfield Architects comes on the heels of a handful of other major museum project announcements in North America, including the St. Louis Art Museum, the master plan for the Menil Collection in Houston, Museo Jumex in Mexico City, and the Anchorage Museum in Alaska.
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David Chipperfield-designed West Village condo finally gets Landmarks approval

It seems the third time's the charm for David Chipperfield. After twice declining to approve his firm's proposal for a West Village condo, pictured above, the New York City Landmarks Preservation Commission (LPC) has okayed the design, which has changed only slightly since its last hearing. The proposed structure, at 11-19 Jane Street, sits on a largely residential side street in the Greenwich Village Historic District. Chipperfield's work would replace a two-story parking structure with a six-story condominium building. The firm's first proposal, a white precast concrete building, was rejected by LPC in July of last year. A January proposal did not fare any better and was turned down mostly on the basis of its out-of-character entrances and sliding windows. The new design features casement windows divided by red brick mullions topped by stone lintels that echo the neighbors. A more subtle penthouse roofline responded to commissioners' concerns around the building's height. In a post-decision statement, preservation advocacy group the Greenwich Village Society for Historic Preservation (GVSHP) remained deeply unimpressed with Chipperfield's most recent round of revisions, suggesting the condo would look better beside a highway off-ramp:
It is deeply disappointing that the Landmarks Preservation Commission chose to approve a design which is so patently inappropriate for the Greenwich Village Historic District and for Jane Street. The design is barely changed from the one roundly criticized by the public and rejected in January. It still looks like a chain motel, it’s still too large, and it still sticks out like a sore thumb.  The changes made by the architect since January are the proverbial rearranging of the deck chairs on the Titanic.  This design might look at home next to the off-ramp of I-95, but it does not make sense on this historic side street. We hoped for better from this architect, and from the Landmarks Preservation Commission.
Though the project received unanimous approval, the commission urged the architects to continue to refine the design, especially the windows at street level.
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David Chipperfield's West Village condo totally misses the mark, says LPC

This week David Chipperfield went back to the New York City Landmarks Preservation Commission (LPC) for a second time, hoping to get approval for his heavily revised design for a West Village condo.

The architects first went before the LPC in July with a white precast concrete residence at 11 Jane Street. This time they were hoping to get the commission’s blessings—but no such luck.

The new design swaps concrete for red brick, and knocks ten feet off the total height to better align with the block's townhouses. The residence, presented in collaboration with Higgins Quasebarth & Partners, would replace a one-story parking garage.

In an email to supporters last week, preservation advocacy group the Greenwich Village Society for Historic Preservation (GVSHP) said the design is not appropriate for the street or in keeping with the overall ethos of the Greenwich Village Historic District.

"[Unfortunately] the new design is not much better than the old one (and may even be worse in some respects)," the email said. "While the new design is slightly shorter and uses a more appropriate brick material, instead of looking like a corporate office building it now looks like a corporate chain motel."

The commission mostly agreed. Though it said the current design "plays better with the neighbors,” commissioners took issue with the sliding windows and door, especially the narrower vertical glass doors to a row of second-floor terraces. To many that spoke, the entrances that flank the sides of the building, closed off from the sidewalk by a low metal gate, lacked the egress signifier that a stoop, for example, would provide.

“I just don’t think this very capable architect has reached the mark," said Commissioner Michael Devonshire. “Articulation in the district is extremely rich and this building lacks it."

Chair Meenakshi Srinivasan echoed Devonshire and added that the LPC must “work within the concept and not send it in another direction."

The LPC took no action and will review a revised design at a later date. Third time’s the charm, right?

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David Chipperfield's Met renovation put on hold by seven years

The Metropolitan Museum of Art in New York will delay the redevelopment to its southwest wing by up to seven years as the institution faces cutbacks.

The museum has slashed its budget by $31 million in recent months as it faces deficits. Work on the wing was due to be carried out by British architect David Chipperfield. It was touted to cost around $600 million with the wing housing modern and contemporary art.

Had all gone to plan, the Met would have been able to celebrate its 150th anniversary with the new wing. Construction would have taken place while the museum used the Met Breuer. According to the New York Times, the Met had not changed its position on the eight-year lease of the former Whitney Museum—something that costs the Met $17 million a year for the privilege.

Work though at the museum will continue. Skylights and a roofing system are in line to be replaced but this is only due to start in 2018, the work of which will be stretched out over four years.

“It’s logical that that’s the urgent project we pursue first,” said Thomas Campbell, the director of the Met in the New York Times. He added that the museum was “baking these long-term projects into a responsible master plan that matches our capacity with our ambition.”

This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.