Architect Alan Schwartzman has passed away at age 95 on March 9, 2018. Long a figure in Franco-American architectural circles, he was a founding member of AIA Europe. We first met at a luncheon in 1992 with the three other AIA members we had been able to identify in the Paris region. At the time, he was a partner with Davis Brody Bond Architects in New York City, dividing his time between Paris and Manhattan. Alan was immediately enthusiastic and helpful when I announced plans to form an AIA Chapter in Europe. He became the Chapter’s second president, serving ably in 1996 and 1997. With his wife, Ruth, who died last year, he remained a Chapter stalwart, attending Chapter meetings and events for decades. He was a man of constant and generous counsel. He was also a stickler (a word he would have liked) for detail. Alan wrote the first set of bylaws for AIA Europe in mid-1993 and adjusted them for years thereafter. He also became the Chapter parliamentarian, as one of only a handful familiar with Roberts Rules of Order. He knew the rules, and seemed to like them. In the biographical statement Alan filed with the AIA archives, in his characteristically precise handwriting, he noted that he earned a B.Eng. degree from Johns Hopkins in 1943, attended college again in 1950, and earned an M.Arch. from Pratt Institute in 1975. He also noted his birthplace as Baltimore, Maryland, to parents Isadore and Ida. He once told Françoise and me that his family ran a hardware store in the city. Alan was very good to me, freely offering advice and judgment. He was proud of his connections with the AIA. Nominated by AIA New York (his Chapter at the time), he became a Fellow of the AIA in 1976, the year of the US Bicentennial, when the AIA held its convention in Philadelphia. He served as my sponsor for Fellowship. When Alan became a member of the AIA College of Fellows 42 years ago, he earned this citation: “Through his imaginative and creative involvement in design, the practice aspects of architecture, education, and service to the profession, Alan Schwartzman has become the very personification of the complete architect.” That is also a fitting epitaph for a man who will be remembered fondly by all who knew him.
Posts tagged with "Davis Brody Bond":
2017 Best of Design Award for Unbuilt – Commercial: The Ronald O. Perelman Center at the World Trade Center Architect: REX Location: New York On one of the most significant sites in New York City, the Ronald O. Perelman Center at the World Trade Center will feature works of theater, dance, music, film, and opera. It is a pure form, wrapped in translucent, veined marble, laminated within insulated glass. The performing arts center includes three auditoria, which can combine to form seven additional configurations and a rehearsal room—all can adopt manifold stage-audience configurations with flexible patron flow—as well as offices and recreational spaces. The keystone and final piece of the World Trade Center master plan, the Perelman Center embraces creation and memory with respectful individuality. “A respectful addition to a complicated site, with an especially elegant, thin marble skin that is sure to transform the surrounding public space, day and night.” —Irene Sunwoo, Director of Exhibitions, GSAPP (juror) Architect of Record: Davis Brody Bond Theater Consultant: Charcoalblue Facade Consultant: Front Structural Engineers: Magnusson Klemencic Associates with Silman Acoustics + Vibration: Threshold Acoustics with Wilson Ihrig Honorable Mention Project: Lima Art Museum (MALI) Architect: Young Projects Location: Lima, Peru This proposal for the New Contemporary Art Wing at Lima Art Museum inverts two mirrored ellipses, creating a structural and conceptual grid. The geometric orientation of the ellipse, its curve orbiting two focal points, contrasts the rectilinear logic of the existing historic Palacio de la Exposición.
REX has bestowed a shiny new skin on a late Brutalist office building that was, until recently, one of the ugliest buildings in Manhattan. Up until the renovation, the building was known as the elephant's foot, in dubious honor of a horrific 1980s renovation that left the elegant concrete structure clad in brown metal panels and beige paint. Now called 5 Manhattan West, the building has undergone yet another makeover, spearheaded by REX, to update its facade with the latest in form-fitting fenestration. The Brooklyn-based firm ultimately devised a pleated glass facade that ripples down the building like a stretched ziggurat to flood the large, open interiors with light. These pleats are composed of panels angling out toward each other from the floor and ceiling, a design driven by the need to mitigate the structure’s slope, which limited the leasable space along the interior perimeter. But the unique form is more than just window dressing. According to Joshua Prince-Ramus, REX's founding principal, “What’s interesting about the geometry is that the sun doesn’t hit the lower piece of glass, so we can have a building that is transparent and simultaneously energy efficient." Prince-Ramus praised REX's client, Brookfield, for its holistic approach to sustainability that centered reuse—not just LEED-level performance. "In our lifetimes, adaptive reuse is going to be the stuff from which we make 'capital A Architecture,'" he said. The pleating also complied with ADA standards for head strike, allowing for uninterrupted exterior views while maximizing tenants' floorspace, and allowed the designers to rigorously test the concrete from the 1960s, which was cast using different standards from today. The structural maneuvering honestly exposed concrete from Davis Brody's (now Davis Brody Bond) original design, a move that was especially evident on the east-west breezeway. The renovation was done with tenants in place, on a feverish nights-and-weekends schedule. Although some floors have yet to welcome new tenants like J.P. Morgan Chase and Amazon, 5 Manhattan West's common spaces and outdoor areas by James Corner Field Operations are largely complete. The squat, 1.7-million-square-foot structure features ground level retail, a two-story elevated breezeway on the southern side, and a full interior renovation, with open floor plates ranging from 86,000 to 124,000 square feet (no, that's not a typo). With ceiling heights from 15 to 17.5 feet, the super-sized office spaces allow the old-new building to compete with Hudson Yards' office spaces, which feature large, and largely column-free, interiors. Adamson served as executive architect for the $350 million project. The 5 Manhattan West re-clad slots the office building squarely into Brookfield Office Properties’ Manhattan West development. Bounded by Ninth Avenue to Tenth Avenue and 31st Street to 33rd Street, Manhattan West encompasses nearly six million square feet across six buildings.
New Yorkers now have a more complete idea of what Manhattan's Hudson Yards will look like: New renderings depict a slender stone and glass building from New York's Davis Brody Bond that will saddle up next to structures by Thomas Heatherwick, Diller Scofidio + Renfro, and KPF.
One Hudson Yards, located near Heatherwick's Vessel and DS+R's performing arts center, the Shed, will rise 33 floors and include 178 apartments. These will range in size from one to three bedrooms and will sport ten-foot ceilings.
In addition to this, a press release states that the amenities suite, designed by Manhattan-based architect Andre Kikoski, will feature an 82-foot pool, spa, and fitness center curated by gym chain Equinox, plus a bowling alley, game lounge, half-court basketball court, penthouse lounge, entertaining room, terrace, and children's playroom.
Leasing is due to begin this summer. To find out more of what is going on (or rather up) at Hudson Yards, see The Architect's Newspaper's prior coverage of the 18-million-square-foot development.
The City of New York has unveiled its vision for a tech incubator, designed by Davis Brody Bond, in Manhattan's Union Square. The firm's scheme builds out the city's ambitions for its very own Silicon Alley. Developed in partnership with RAL Development Services, the Union Square Tech Hub also responds to a need for 21st-century office space: Much of New York's older office building stock provides inflexible or hard-to-retrofit layouts that are incompatible with tech industry demands. The hub will house a 36,500-square-foot jobs training and education center, and 58,000 square feet of workspace for new tech-focused enterprises, while Civic Hall, a member-based collaborative workspace that uses technology to benefit the public, will anchor the project. The announcement included buzzing endorsements from elected officials and project partners that verged on tech-babble. The hub will be a "nexus" for "innovation" and "cross-pollination" between startups in the "booming creative economy." In all, the project's expected to cost $250 million. "This new hub will be the front-door for tech in New York City," said Mayor Bill de Blasio, in a statement. "People searching for jobs, training or the resources to start a company will have a place to come to connect and get support. No other city in the nation has anything like it. It represents this City’s commitment to a strong and inclusive tech ecosystem.” The 258,000-square-foot development will replace the electronics store PC Richard & Sons on 14th Street between Third and Fourth avenues. To support fast-growing enterprises, the hub will offer shorter leases (6 months to five years) than a typical commercial office building. In turn, Civic Hall will partner with General Assembly, Per Scholas, the New York City Foundation for Computer Science Education, Code to Work, FedCap, and Coalition for Queens to provide workforce development for city residents. For Davis Brody Bond, 2017's shaping up to be a banner year for development downtown. Late last year, New York University revealed the firm's vision for a 23-story housing and academic center on Mercer Street, designed in collaboration with KieranTimberlake.
New York University released renderings yesterday of the new Davis Brody Bond and KieranTimberlake–designed 23-story building (dubbed 181 Mercer) on the corner of Houston and Mercer streets, where the Cole Sports Center once stood. Bordering I.M. Pei’s University Village, the tessellated glass building will be 735,000 square feet and includes plans for 58 new classrooms, 50 practice rooms, 20 music instruction rooms, a 350-seat proscenium theater, 10 multi-use rooms for the performing arts, an orchestral ensemble room (the university’s first), and housing for approximately 420 freshmen students and at least 30 faculty. This will make it NYU’s largest classroom building. Additionally, it will include common areas, such as an athletic facility with a lap pool, basketball courts, and other fitness areas that collectively will serve as the new hub of the NYU sports facilities. Both firms have worked on collegiate campuses such as Columbia University, University of Pennsylvania, Harvard, Yale, Princeton, and Cornell as well as many others, and wanted this building to be a visual departure from the Cole Sports Center, which was described as opaque and monolithic. The architects opted to only use 80 percent of the permitted square footage to create a sense of permeability and keep the structure open to the public. Greene Street will be extended as a pedestrian walkway between the building and the University Village to create an open feel on campus. Fostering a sense of lightness and transparency was key to the design, which incorporates green roofs, glass panels, outdoor terraces, and common areas and pushes circulation spaces to the perimeter. The project has been in the works since plans were filed and approved by City Council in 2012. Construction is set to begin February 2017 and will be completed in 2021. The projected cost is $1.b million.
The National Museum of African American History and Culture proves that architecture is still relevant
In September, the most important American building of the 21st century opened in Washington, D.C. The National Museum of African American History and Culture (NMAAHC) truly delivers something that few pieces of architecture can: It is a cascade of metaphors for collectivity, but is also in harmony with its content and program. Together they are a vehicle for the triumph of African-American history on the national stage. (While the completion of New York’s One World Trade Center might fulfill some myth of national pageantry, as a building it does not offer very much of architectural note.) To truly appreciate how great this building is, let us start with the story of how it came to be. Exactly 100 years ago, the National Memorial Association was founded, starting a serious debate about the possibility of some kind of monument or museum to African-American history in the United States. The project received funding in 1929 from President Calvin Coolidge but fell through in 1933. Efforts continued, and from 1988 to 2003, Georgia congressman John Lewis introduced a bill every single year that would have finalized the plans for such a museum. President George W. Bush gave the final go-ahead in 2005, and in 2009, the winning team was announced. That team consisted of a trio of black architects. J. Max Bond—of Davis Brody Bond and the namesake of the J. Max Bond Center on Design for the Just City at City College of New York's Spitzer School of Architecture—joined Phil Freelon and David Adjaye in collaboration with the Smith Group. The collective calls itself FAB/S, and they beat out a high-profile group of competitors, among them Diller Scofidio + Renfro, Foster + Partners, and Moshe Safdie, all heavy hitters in the cultural building sector. The making of the museum, which is the newest building on the National Mall—the country’s public commons—was an expectedly daunting process of building consensus. Who decides on a building that represents an entire group of people? According to Lonnie G. Bunch III, founding director of NMAAHC, there were many opinions. “The building must be monumental and marble; it must be boldly black; it must look African; it must not look African. In every case, they said, it must not obstruct the public's view of surrounding monuments,” he said in his introduction to Mabel O. Wilson’s book, Begin with the Past, which tells the story of the museum in detail. The result is an object-building that at first seems like an out-of-place, estranged box that confronts and withdraws simultaneously its surroundings. However, it is exactly the opposite of that as an urban experience. Site What makes this building so great is that this backstory—while intensely interesting—really only sets the stage for the building to enact one of the greatest American history stories on one of the most important sites in the country. The large, brown building stands four stories above grade, with the Washington monument in the near distance. While most of the other buildings and memorials on the mall are white, what does it mean to be a brown building that recognizes the contributions of a non-white group? And what does it mean that it is also the closest building to the Washington Monument, a white marble obelisk to a single man who was the slave-owning first president of our country? Now that this building has taken its place on the mall, and thus American history, it cements the story of African American struggle as a part of the American story, which in itself is a great step of progress for both African Americans and the nation in general. One of the ironies of its site is that George Washington actually gave some of his land to former slaves, most notably at Gum Springs, Virginia, where some of his former slaves formed a community. So perhaps he wouldn’t have minded this situation almost 250 years later. Of course, some figures from history would be appalled. But this museum isn't about a confrontation of people, it is about collectivity, sharing, and inclusion. Threshold On the south side of the building, facing the mall, this attitude of inclusion and coming together manifests in the building’s formal site strategy. A covered outdoor space is a scaled-up version of the vernacular American covered porch, which represents a black space that has historically been used by the African diaspora as a place for sharing, socializing, telling stories, and giving lessons. Here, it acts as a mediating threshold between the normative history of America as told through the national mall, and the new story that is being anchored with the NMAAHC. It is meant to be a welcoming place for visitors of all backgrounds to share in this incredible story. This means that the entrance on the ground floor is completely open to the Mall, giving visitors spectacular views and creating a welcoming transparent and continuous space that represents openness and inclusion—foundations of a collective future that the museum might allow us to envision. The overhang is also a shading device, a formal nod to vernacular passive strategies. Form The overall form of the museum’s exterior is what the designers call a "corona"—inspired by a sculpture by Nigerian artist Olowe of Ise that shows a crown with similarly angled masses. The shape also references a group of people with their arms raised in celebration, as if to telegraph the one hundred year triumph that is exalted so proudly in the galleries within. It announces the arrival of African American history in the official Smithsonian. The angle of its tilted facade matches the top of the Washington monument. It is meant to fit in with its surroundings, not confront them. The iconic profile should serve as a marker for those looking for the museum, and it certainly sets the new structure apart from its neighbors in the vicinity, both in color and ornament. Symbol The ornament is an important and complex part of the narrative of the building. Adjaye produced a single patterned cast-aluminum panel that is tessellated to create the iconic, translucent facade. The pattern was abstracted from cast-iron work produced by black workers in Charleston and New Orleans. Adjaye mapped out the welded connections, literally the points where the work was done. There is some artistic license here, and the pattern comes off as somewhat arbitrary, but the story remains. This particularly American form of modernity is a perfect glimpse into the unique history of the American South, but also the contributions that African Americans have made to the country—many of which have gone underreported due to institutional racism. The bronze facade reflects the patterns and creativity that enslaved people brought to the ironwork of Charleston and New Orleans, and thus to American history itself. Experience Which brings us to the galleries. Of course, a building cannot serve only as a metaphor, it must also serve a purpose. In this case, this purpose is to function as a museum that has all of the same goals as the building itself. The 100,000 square feet of exhibition space is home to items selected from roughly 40,000 artifacts assembled over a decade. It is fitting that this building's facade and programs, such as education center, theater facility, and public spaces, represent a collective celebration of African American history and a new space dedicated to it. The galleries extend the metaphors into physical, phenomenological architectural experience. To experience the choreographed architecture of the galleries designed by Davis Brody Bond, visitors start by descending 65 feet below ground in an elevator. Deep underground, the exhibition starts with an overview of the earliest days of the slave trade, in a global seafaring economy. Diagrams of how to pack the most humans in a slave ship are just a few of the haunting artifacts displayed here, where a low ceiling and dark walls recreate the feeling of being in the hull of a boat, with nowhere to go. Working through the timeline of American history, the galleries provide a sensory spatial experience that works in harmony with the content. Much like the museum is a chorus of many people distilled into one building, the curators sought to tell larger stories through single artifacts or single people who could collectively encompass larger narratives. The year 1776 is shown—rather shockingly—with Thomas Jefferson standing on a plinth as if to suggest that he is at a slave auction. A pile of bricks is next to him, each one representing one of his slaves. The museum’s narrative is surprisingly self-reflexive. It is not confrontational with any group of people, but it certainly sheds light on some of the darker parts of a normally whitewashed past. In this moment of freedom, the path opens up to an open, massive four-story space. The story of Jefferson’s slaves problematizes the notion that 1776 was the birth of a free nation. Because freedom from Britain did not mean freedom in any literal sense for all African Americans, it is back into the constricted hallways of history, as visitors work through the antebellum era, with slave memorabilia and Civil War artifacts that include a slave cabin as well as a tent from one of the “contraband camps” of freed slaves who were put up by the government during the Civil War. These proto-refugee camps were dotted all over the south, as many freed slaves worked for the Union Army. Once again, upon the completion of the Civil War, we re-enter the large open space but are immediately back in the dark, constricted space of the pre-civil rights era. This is probably the most poignant part of the museum, where architectural artifacts are brought in at full scale, including a guard tower from Louisiana State Penitentiary that was previously a plantation—an unapologetic reference to contemporary mass incarceration. There is also a segregated rail car, as well as the best part of the whole museum: The actual Greensboro lunch counter where students staged protests against segregation. The museum has rebuilt it, but integrated interactive screens to educate people who can sit at the counter and learn. The final stretch, after the murals and “Whites Only” signs, is the popular culture of the 80s and 90s, followed by the ultimate (symbolic) triumph: the inauguration of President Obama. Walking up the ramp toward this moment is the perfect metaphor for struggle and overcoming. Of course, there is still much work to do, and a screen right next to the image of the 2009 inauguration shows clips of people addressing issues of white privilege and unequally distributed, state-sponsored violence. It will be interesting to see how the museum evolves along with its content, as the two are in constant dialogue. In another perfect metaphor made real in a spatial experience, the above-ground galleries are filled with a celebration of black culture, from sports and entertainment to the contributions of African Americans in society, from science to the military. The circulation spaces in this museum are not very good. They have the feeling of an airport, and the main lobby is sloppily organized and too big. But that is not really the point. The galleries work really well as a narrative, and the symbolic content of the facade and overall form of the building work so well in the context of the National Mall that we can easily forgive some of the shortcomings. Most importantly, the National Museum of African American history transcends its value as a museum and casts a narrative of inclusion, as one of the most important yet marginalized and unrecognized groups of people takes a bold new position in the image of society, partly through architecture that has been carefully calibrated to do just that.
Brooklyn-based architecture firm REX will design the approximately 80,000 square foot Performing Arts Center at the World Trade Center (PAC). The PAC will produce and show theater, music, musical theater, dance, film, and opera. The commission was previously given to Frank Gehry over a decade ago. “We are honored to design such a meaningful project on a site imbued with deep significance for the people of New York,” Joshua Prince-Ramus, REX's principal, said in a statement. “I am confident that our collaboration with PAC's exceptional team will help create a building that embodies and inspires the many dimensions of creative expression." REX topped a shortlist comprised of Copenhagen's Henning Larsen and Amsterdam's UNStudio. PAC Chairman John Zuccotti and President/Director Maggie Boepple selected the Brooklyn-based firm to design the project, although designs have yet to be released. Last week, the Lower Manhattan Development Corporation (LMDC) released $10 million of a pledged $99 million for the construction of the new venue. The project may cost more, but the difference will be made up through private donations. REX will collaborate with Davis Brody Bond (designers of the National 9/11 Memorial Museum), theater consultants Charcoalblue, and project managers DBI on the project. The PAC has gone through a few design selection cycles. In 2013, Frank Gehry was selected to build the center, but his proposal was downsized, and ultimately scrapped. The new venue is slated to open in 2019.
Last year, AN explored REX's strategy to revamp a brutalist, ziggurat-shaped tower on Manhattan's west side with a modern, pleated-glass facade. Since the Davis Brody Bond–designed structure was originally a warehouse, developer Brookfield Properties thought it made sense to give the building a glassy facelift before the tech companies moved in. As AN reported:
REX’s new facade is a formal response to pragmatic challenges at the site. Originally built as a warehouse over the rail yard, the pyramid-shaped structure boasts 14-foot-tall ceilings, but day lighting was not a concern. New building codes dictating accessibility required ample headroom at the slanting walls. [REX Principal] Prince-Ramus said his system of floor-to-ceiling tapering glass pleats maximizes interior space while addressing energy efficiency issues. The curtain wall’s under-slung surfaces are self-shaded from the sun, reducing solar glare and heat gain while creating a more transparent, lively façade from street level.Now, the $200 million project is taking shape. Construction watch blog Field Condition recently spotted REX's curtain wall rising at the building, now known as 5 Manhattan West. The entire project is expected to be completed next year. Take a look at the gallery below, courtesy of Field Condition, and read our coverage about the project here.
A jury of architects, landscape architects, critics, educators, and planners has named the 35 winning projects of this year's AIA New York Chapter Design Awards. "Each winning project, granted either an 'Honor' or 'Merit' award, was chosen for its design quality, response to its context and community, program resolution, innovation, thoughtfulness, and technique," AIANY said in a statement. "Submitted projects had to be completed by members of the AIA New York Chapter, architects/designers practicing in New York, or be New York projects designed by architects/designers based elsewhere." Take a look at the winning teams in the architecture category below. But before we get to that, let's start with the Best in Competition distinction which goes to SsD and its Songpa Micro Housing in Seoul, Korea (above). "Like the ambiguous gel around a tapioca pearl, this ‘Tapioca Space’ becomes a soft intersection between public/private and interior/exterior building social fabrics between immediate neighbors," the firm said in a statement. "Finally, as this is housing for emerging artists, exhibition spaces on the ground floor and basement are spatially linked to the units as a shared living room. Although the zoning regulation requires the building to be lifted for parking, this open ground plan is also used to pull the pedestrians in from the street and down a set of auditorium-like steps, connecting city and building residents to the exhibition spaces below." Okay, now onto the Honor Awards in the architecture category. Davis Brody Bond National September 11 Memorial Museum New York, NY
Brooklyn Botanic Garden Visitor Center
Krishna P. Singh Center for Nanotechnology
From the architects: "Remembering the fallen Twin Towers through their surviving physical structural footprints, the 9/11 Memorial Museum stands witness to the tragedy and its impact."John Wardle Architects and NADAAA Melbourne School of Design Melbourne, Australia
From the architects: "The new building for the Faculty of Architecture, Building and Planning responds to the urban design values identi- fi ed in the Campus Master Plan and enhances the existing open spaces within the historic core of the Centre Precinct of the Parkville Campus. It engages with the existing landscape elements, continues the sequence of outdoor rooms arrayed across the campus, and links strongly to the intricate network of circulation routes that surround the site. The new building compliments and enhances the sense of place that the Eastern Precinct of the Parkville Campus already commands."REX Vakko Fashion Center Istanbul, Turkey
From the architects: "Turkey’s pre-eminent fashion house, Vakko, and Turkey’s equivalent of MTV, Power Media, planned to design and construct a new headquarters in an extremely tight schedule using an unfinished, abandoned hotel. Fortuitously, the unfinished building had the same plan dimension, floor-to-floor height, and servicing concept as another one of our projects, the Annenberg Center’s 'Ring', which had been cancelled. By adapting the construction documents produced for that project to the abandoned concrete hotel skeleton, construction on the perimeter office block commenced only four days after Vakko/Power first approached our team. This adaptive re-use opened a six-week window during which the more unique portions of the program could be designed simultaneous to construction."ROGERS PARTNERS Architects+Urban Designers Henderson-Hopkins School Baltimore, MD
From the architects: "The new Elmer A. Henderson: A Johns Hopkins Partnership School and The Harry And Jeanette Weinberg Early Childhood Center, together called Henderson Hopkins, is the fi rst new Baltimore public school built in 30 years. A cornerstone for the largest redevelopment project in Baltimore, it is envisioned as a catalyst in the revitalization of East Baltimore. The seven-acre campus will house 540 K-8 students and 175 pre-school children."WEISS/MANFREDI Architecture/Landscape/
From the architects: "A botanic garden is an unusual kind of museum: a fragile collection constantly in flux. As a constructed natural environment, it is dependent on man-made infrastructures to thrive. New York City’s Brooklyn Botanic Garden contains a wide variety of landscapes organized into discrete settings such as the Japanese Garden, the Cherry Esplanade, the Osborne Garden, the Overlook, and the Cranford Rose Garden. The Botanic Garden exists as an oasis in the city, visually separated from the neighborhood by elevated berms and trees."WEISS/MANFREDI Architecture/Landscape/
From the architects: "The newly-opened Krishna P. Singh Center for Nanotechnology demonstrates the University of Pennsylvania’s leadership in the emerging field of nanotechnology. Nanoscale research is at the core of cutting-edge breakthroughs that transcend disciplinary boundaries of engineering, medicine, and the sciences. The new Center for Nanotechnology contains a rigorous collection of advanced labs, woven together by collaborative public spaces that enable interaction between different fields. The University’s first cross disciplinary building, the Singh Center encourages the exchange and integration of knowledge that characterizes the study of this emerging field and combines the resources of both engineering and the sciences."Merit Awards Garrison Architects NYC Emergency Housing Prototype Brooklyn, NY H3 Hardy Collaboration Architecture Theatre for a New Audience at Polonsky Shakespeare Center Brooklyn, NY Jaklitsch / Gardner Architects Toroishiku (Marc Jacobs Building) Tokyo, Japan Louise Braverman, Architect Village Health Works Staff Housing Kigutu, Burundi Maryann Thompson Architects Pier Two at Brooklyn Bridge Park Brooklyn, NY OPEN Architecture Garden School Beijing, China PARA-Project Haffenden House Syracuse, NY Skidmore, Owings & Merrill University Center – The New School New York, NY Thomas Phifer and Partners Project: United States Courthouse, Salt Lake City Location: Salt Lake City, UT Tod Williams Billie Tsien Architects Project: Reva and David Logan Center for the Arts Location: Chicago, IL
The American Institute of Architects (AIA) has announced the 2015 recipients of its Institute Honor Awards, which it describes as “the profession’s highest recognition of works that exemplify excellence in architecture, interior architecture and urban design.” This year’s 23 recipients were selected from out of about 500 submissions and will be honored at the AIA’s upcoming National Convention and Design Exposition in Atlanta. Here are the winners in the interior architecture category. Arent Fox; Washington, D.C. STUDIOS Architecture According to the AIA:
Key elements of this office building include a formal reception space with a physical and visual connection to the building lobby, a conference center, an auditorium with tiered seating, break-out areas for receptions, and slab openings on typical office floors for visual connection to other floors. The building has two primary street-facing sides and two sides that face an alley. To create parity between the two, the design places key elements on the alley side of the building to draw people from the front to the back for collaboration and support functions. Glass was used to shape offices and conference rooms and to blur the line between circulation and enclosed spaces.The Barbarian Group; New York City Clive Wilkinson Architects; Design Republic Partners Architects According to the AIA:
A 1,100-foot long table connecting as many as 175 employees—snaking up and down and through the 20,000-square-foot office space provides a digital marketing firm a medium for collaborating employees. To maintain surface continuity and facilitate movement through the space, the table arches up and over pathways, creating grotto-like spaces underneath for meetings, private work space, and storage. Dubbed the Superdesk, this table encourages connection and collaboration, makes conventional office furniture seem redundant, and challenges traditional ideas about what a modern office space should look and feel like.Beats By Dre; Culver City, California Bestor Architecture According to the AIA:
The Beats By Dre campus was designed to reflect the diverse and innovative work undertaken in the music and technological fields. The main building is carved by a, two-story lobby that forms an axis and two courtyards to orient the work spaces. Courtyards connect to the varied working environments and include offices, open workstations, flexible work zones, and interactive conference rooms. The office plan encourages interaction and contact across departments by establishing a variety of calculated environments that exist within the larger workspace: peaceful, activated, elegant or minimal.Crystal Bridges Museum of American Art, Museum Store; Bentonville, Arkansas Marlon Blackwell Architect According to the AIA:
The work of a local Arkansas basket maker, Leon Niehues, known for his sculpturally ribbed baskets made from young white oak trees from the Ozarks, provided the design inspiration for the museum store, located at the heart of the Moshe Safdie, FAIA, designed museum (2011) in Bentonville, Arkansas. A series of 224 parallel ribs, made of locally harvested cherry plywood, were digitally fabricated directly from the firm’s Building Information Modeling delivery process. Beginning at the top of the exterior glass wall, the ribs extend across the ceiling and down the long rear wall of the store.Illinois State Capitol West Wing Restoration; Springfield, Illinois Vinci Hamp Architects According to the AIA:
The West Wing of the Illinois State Capitol is the second phase of a comprehensive renovation program of this 293,000-square-foot National Historic Landmark. Designed by French émigré architect Alfred Piquenard between 1868 and 1888, the Capitol represents the apogee of Second Empire design in Illinois. Over the years inappropriate changes were made through insensitive modifications and fires. The project mandate was to restore the exuberant architecture of the West Wing’s four floors and basement, while simultaneously making necessary life safety, accessibility, security and energy efficient mechanical, electrical, & plumbing system upgrades.Louisiana State Sports Hall of Fame and Regional History Museum; Natchitoches, Louisiana Trahan Architects According to the AIA:
The Louisiana State Museum merges historical and sports collections, elevating the experience for both. Set in the oldest settlement in the Louisiana Purchase on the banks of the Cane River Lake, the quiet yet innovative design reinterprets the geometry of the nearby plantation houses and the topography of the riverfront; between past and future. Spaces flow together to accommodate exhibits, education, event and support functions. The hand-folded copper container contrasts with the digitally carved cast-stone entry and foyer within, highlighting the dialogue between the manmade and the natural.National September 11 Memorial Museum; New York City Davis Brody Bond According to the AIA:
The 9/11 Memorial Museum is built upon the foundations of the Twin Towers, 70 feet below street level. Visitors reach the museum via a gently sloped descent, a journey providing time and space for reflection and remembrance. Iconic features of the site, such as the surviving Slurry Wall, are progressively revealed. This quiet procession allows visitors to connect to their own memories of 9/11 as part of the experience. Located at the site of the event, the museum provides an opportunity to link the act of memorialization with the stories, artifacts and history of that day.Newport Beach Civic Center and Park; Newport Beach, California Bohlin Cywinski Jackson According to the AIA:
The Newport Beach Civic Center and Park creates a center for civic life in this Southern California beachside community. Nestled within a new 17-acre park, the City Hall is designed for clarity and openness. A long, thin building supporting a rhythmic, wave-shaped roof provides a light and airy interior, complemented by connections to outdoor program elements, a maritime palette, and commanding views of the Pacific Ocean. The project’s form and expression are generated by place and sustainability, as well as the City’s democratic values of transparency and collaboration.
Metal mesh bridges old and new in Davis Brody Bond renovation.For their renovation and expansion of the South African Embassy in Washington, DC, Davis Brody Bond faced an unusual aesthetic challenge. Besides updating the two historic buildings housing the embassy's offices and residence, they were tasked with building a new atrium for public welcoming, public events, and conference rooms—right in between the two older buildings. The architects turned to Cambridge Architectural, a Maryland manufacturer of wire mesh architectural systems. "Davis Brody Bond wanted to have this new building as a very contemporary element between the two limestone buildings," said Cambridge Architectural's Ann Smith. A wire mesh facade seemed a perfect solution to the problem of combining old and new, seamlessly bridging the two masonry structures, and providing crucial sun shading for the glass atrium. The designers selected Cambridge Architectural's Shade mesh, a stainless steel weave of triangular elements with an open area of 54 percent. "Shade was chosen specifically to reduce the sun coming in, and the glare, because there are conference rooms in that front area," explained Smith. "But they still wanted to maintain the views." Shade is also a flexible, almost fabric-like mesh. "The architects really wanted to see it as one continuous piece," said Smith. "Our flexible materials lend well to that. We're able to tension them without tying back to the structure as often." The mesh facade turns three times as it wraps around the top and front of the atrium, twice around the parapet, and once again above the recessed entry. To modulate the tension on the screen, Cambridge Architectural developed a custom attachment system based on their Cambridge Scroll attachment series. "We changed the original concept a number of times," said engineering manager Jim Mitchell. "One of the challenges was that when you first walk in, the mesh runs overhead. We had to put more supports in there, more of our tension brackets to keep it looking horizontal, and to keep the tension as it turned." In this case, that meant locating additional attachment areas on the building and adding steel mounts for the Cambridge Scroll hardware. Cambridge Architectural also worked with Davis Brody Bond on a custom window-washing apparatus. The mesh team mounted the screen further off the glass than was standard, to allow room for a hook-and-pulley system designed by the architects. Davis Brody Bond also modified the window design to make for easier cleaning. Inside the entry, Cambridge Architectural installed frames of rigid mesh to echo the exterior facade while allowing access to HVAC equipment. By partnering with Cambridge Architectural on the South African Embassy project, Davis Brody Bond solved two problems at once. They marked their expansion as clearly contemporary without upstaging either the older buildings or the iconic Nelson Mandela statue out front, and they also made building a south-facing glass atrium possible. "It was a perfect combination of a transparent material that could also shade, and a stainless steel material that was very modern," said brand manager Gary Compton. "When you're inside that space, it makes for a nice welcoming, open area."