60 Seconds Helicopter. The Sikorsky Prize is legendary, for it has not yet been awarded--it's still awaiting its first winner, whose human-powered helicopter will reach an altitude of 3 meters (10 feet) during a flight lasting at least 60 seconds, while remaining in a 10 meter square (32.8 foot square). But Inhabitat reports that if things go as planned, a team of students from the University of Maryland may be taking home the prize with their human-powered flying machine, the Gamera. BIG's beautified universe. Metropolis deconstructs the renderings of Bjarke Ingels Group (BIG)'s latest project: a mosque complex in Tirana, Albania. While the thoughtful octagonal design (an overlap of the Mecca orientation and Tirana's urban grid) may have put BIG in front of the competition, one can't help wonder if the seductive juxtaposition of photo-realism and and benign atmospheric glow in BIG's renderings may be the secret to the firm's running marathon of competition wins. More Getty Trust. Christopher Knight at The Los Angeles Times raises a good point regarding the J. Paul Getty Trust's appointment of James Cuno, currently director of the Art Institute of Chicago, as Trust president and chief executive: It might be a brilliant idea to appoint him to the directorship for the Getty Museum, finally merging the two positions. Suburbia Objectified? Allison Arieff of The New York Times comments on the recently launched Open House, a collaborative project in which the Dutch design collective Droog and Diller Scofidio + Renfro architects imagined "future suburbia." She laments that the project missed the point-- by treating a real place (Levittown) as a "perfect blank canvas" and dodging "the real issues."
Posts tagged with "Diller Scofidio + Renfro":
Curbed LA yesterday shared schemes for the zone around Diller Scofidio + Renfro's Broad Museum, revealing renderings of two residential towers to the south and east of the project and space for a new plaza. The images sent the ever-excitable architecture community chattering. But while it's great to get a better sense of what's going up, as the blog pointed out and the architects have reiterated, the images don't reveal what the design will actually look like. Developed by LA firm Grant Price Architects, the plans were part of a "Concept Study" for LA's Community Redevelopment Agency through developer Related Companies to explore the various configurations on the site. "It’s too early to get an idea of what they could do around the museum," Ted Ogami, Associate Director at Grant Price told AN. "It’s going to go through a number of iterations before they decide what to do." So we still need to wait until DS+R and Broad roll out their scheme for the area. DS+R Senior Associate Kevin Rice, the project director, confirmed that the firm is working under the assumption that they will likely design the plaza, but won't start work on it until that's confirmed in the next few months . Curbed did reveal that an architect for one of the towers is likely to be revealed in 30 days. More things to wait for. So be patient.
On Saturday, April 23 the conceptual Dutch design company Droog and Diller Scofidio + Renfro presented "Open House," a project that offered dialogue for possible new social and economic models to revitalize pre-existing suburban neighborhoods. The one-day event began with a symposium at Columbia's off-site Studio-X in Downtown Manhattan, followed by a field trip to Levittown, Long Island, where nine homes from the fabled, archetypal post-war American suburb were transformed into residential marketplaces with experimental installations by designers, architects, and homeowners. "We were inspired by the service economy in New York, where people are outsourcing everything from dog walking to love coaching," Renny Ramakers, co-founder and director of Droog, told the Levittown Tribune. "This service-oriented mentality could be inspiring for people living in the suburbs, especially in economically challenging times." The symposium, featuring talks from Ramakers, Charles Renfro (partner, Diller Scofidio + Renfro), Heleen Mees (economist, Tilburg University), Roo Rogers (entrepreneur and director, Redscout Ventures), Mary Ellen Carroll (conceptual artist) and moderated by Mark Wasuita (Columbia University, GSAPP), kicked off the event with a bundle of critical framing issues. Mees revisited the Marxist notion that "culture follows structure," and how the reach of the service industry in urban cities--abundant and often highly specialized, from doormen to baristas and janitors--contrasted vastly with the experience in suburbs, where sprawl necessarily lowers density and the ability to sustain such a fluid economic model. Wasuita spoke of the changing ideology of suburbia and the individual, citing marijuana growhouses in California residences as an extreme example of how an individual's identity can transform by practicing an alternative use of space. Rogers spoke of collaborative consumption, a system that places on emphasis on service over ownership, as demonstrated by ZipCar's successful car sharing model, while Carroll discussed a long-term project in Houston that includes the repositioning of a house in nearby Sharpstown, Texas, a planned community whose demographics have changed radically over the last decades. All tied into the driving ideas behind the Open House project, which, according to Renfro sought to help people "find their inner service provider" as a means of generating an alternative economy. Among the re-imaginings that transformed each home into a personal business: House Dress by L.E.FT playfully wrapped the building exterior in a giant skirt, turning its interior into a casino; Bright Dawn Farm designed by Freecell (pictured) transformed a backyard into an agrarian farm with a 60-foot linear greenhouse; and an installation by EFGH visualized a service-intense masterplan applied to a six-block case study of Levittown. While some designs were loftier than others, the Open House project shows creative ways to generate revenue from home, beyond mowing your neighbor's lawn. Open House is the second of New York-based conceptual projects by Droog Labs, the experimental think-tank arm of the Dutch design company. The first, "Pioneers of Change," took place on Governor's Island in 2009.
Ok, get ready for the strangest, most audacious project you've seen in a long time. Our friends at Architizer just tipped us off to BOOM, a $250 million community being developed in Rancho Mirage, outside of Palm Springs, that includes some pretty inventive, or (maybe more like it) wacky designs by Diller Scofidio + Renfro, LOT-EK, J.Mayer H., and seven more firms. The ultra-expressive project, set to begin construction next year, will include 300 residences built in eight neighborhoods, each designed by a different firm (important note: the developer, Matthias Hollwich, is a co-founder of Architizer). It will also include an entertainment complex, a boutique hotel, and a wellness center. According to Curbed LA, the community was "originally conceived with gay people in mind," but welcomes all people and all ages. Diller Scofidio's contribution is a large marketplace with a light swooping roof canopy and a central outdoor plaza (should be toasty in the summertime).The schemes seem to take the dominant mid-century Modern aesthetic of Palm Springs and twist it into a computer-enabled jumble of extreme formal gymnastics. So without further ado, hold on to your seatbelts and check out these pictures of BOOM:
The recent unveiling of Diller Scofidio + Renfro's Broad Art Foundation has been generating a lot of buzz in the past couple weeks. The defining architectural element of the museum is its porous structural concrete veil which the architects hope will create an interplay between interior and exterior spaces. The Broad's concrete skin won't be Los Angeles' first, however. Sitting just two miles away on Wilshire Boulevard, the American Cement Building features a mid-century veil of its own. Designed by Salt Lake City's Daniel, Mann, Johnson and Mendenhall (DMJM) in 1964, the latticework concrete facade of the 13-story American Cement Building bears a striking resemblance to that of the Broad's. Originally home to a forward-thinking cement company, the structure has now been converted into residential lofts. The American Cement Building's geometry conforms to the regularity characteristic of its period while the Broad's veil morphs in a way modern computing only allows. It remains to be seen how similar the two buildings end up in the end, but the American Cement Building could offer insights into how the Broad might weather into middle age. [ Image credits: Tyler Goss, Chad Carpenter, Evan G, kurious kite, and Loom Studio ]
When Diller Scofidio + Renfro were solicited last June by Eli Broad to sketch an idea for his new archive and museum, the architects were forced to ask: “What do you build next to Disney Hall?” Answer: Something else. Where Frank Gehry’s work is smooth and impenetrable, the Broad Art Foundation is porous and accessible. The stainless steel concert hall reflects the city’s skyline; blinding sunlight bounces off its capering shell. The Broad’s concrete veil, by contrast, is a less aggressive spectacle. At three-feet thick, and punched through with large angular openings, the new museum looks as if it is cloaked in an ice cube tray twisted by a powerful algorithm. As, certainly, it has been, to pleasing effect. Over time the animated, if a bit too-tidy white box, with its dramatic, carved out entryway – a quote of Diller’s earlier Alice Tully Hall – will settle onto Grand Avenue, a signature building poised not so much to duke it out with Disney as to hold firmly its own ground. The trouble here is that everyone – architects, planners, civic officials, and developers – is convinced that if you plant the right number of monuments on Grand Avenue, the street will become, as Eli Broad says, “the Champs Elysees of Los Angeles.” What they’re looking for is a sidewalk lined by masterpieces. No amount of architecture will transform Bunker Hill – the nation’s longest-running redevelopment project (some would say scam). Broad’s obsession with having architects strut their stuff has obscured the need for a considered response to the city itself— with varied program and a welcoming streetscape—not one street-top civic center. This is not to argue for provincial architecture. But it might be helpful if what goes up on Grand Avenue were considered in its rightful place and not as some moon-shot projectile intended to rescue or restore or resuscitate a barren landscape. For starters, the hill itself is – as it has been elsewhere – trampled, converted into a 3-story garage, as if the slope were actually flat. Why have the architects decided to essentially level a site that drops 200 feet from front to back? An inner truth – not to mention a particular history of human occupancy – resides in this steep hillside, yet the topography is buried. Does this geography communicate no ideas that might be captured in a building and, ultimately, speak to the city at large? And if Los Angeles is truly the center of contemporary art – as Broad and others argued at the unveiling of the museum’s design – why doesn’t the new building reach for a language that breathes the gritty, somewhat toxic perfume that spurs art here. As it is conceived, the Broad is a pleasant museum, with an admirable lobby, an exciting gallery space, and an eye-catching skin, suited to any philanthropist with $130 million to spare. As usual, Los Angeles gets the architecture of anywhere, leaving us to wonder where our city really is and who has the guts to confront it.
Yesterday, Sam Lubell detailed The Broad Foundation's much-anticipated LA museum complete with all the renderings. Now, we have a video fly-through of the new Diller Scofidio + Renfro-designed space and isn't it something! You can really start to appreciate the porous nature of The Broad's structural concrete "veil" and the views inside and out it will offer. You also gain a sense of its street presence sitting alongside Frank Gehry's Disney Hall, which appears rather large in comparison. What do you think? [ Video courtesy Broad Foundation. ]
Finally. The design for Eli Broad's new contemporary art museum in Downtown LA, designed by Diller Scofidio + Renfro, is being unveiled on Thursday, according to a press release sent out today. The event will take place at 11:00 am at Walt Disney Concert Hall (next to the new museum site), giving us lazy journalists plenty of time to make it. According to the release, the museum will be "home to the worldwide headquarters of The Broad Art Foundation," and will provide a home for Broad's collection of more than 2,000 works by 200 artists. Since the museum saga has dragged out over several years between several cities, and because he's hired one of the country's top architects, Mr. Broad has done an excellent job of building our expectations. Hope it's good!
The red carpet is not a place where architects usually spend their time. But on Sunday Diller Scofidio + Renfro took home a Breakthrough Award, for their work in architecture. The prizes, handed out at the Pacific Design Center (AN was there believe it or not..) went to emerging performers like The Kids Are Alright's Josh Hutcherson (Actor in Film) and Modern Family's Sophia Vergara (Actress in TV). So how did Architecture wind up on the roster? "We've noticed that architects are starting to be known by name again," said Jan Hall, Marketing Director for MMC, which runs the competition. On Monday, we'll find out if DS+R win Eli Broad's coveted new museum commission downtown. If they do, they'll no doubt catapult into the elite starchitect sphere... Perhaps this is a harbinger of things to come?
In a selection process with more leaks than the Titanic (or, ahem, the Gulf of Mexico) the LA Times reports (thanks to a number of anonymous sources) that Eli Broad is favoring Diller Scofidio + Renfro for his new contemporary art museum. In a previous leak the Times reported the narrowing of firms to Diller Scofidio and Rem Koolhaas's OMA. This of course follows the leak that we first reported in March: that Broad was favoring downtown for the museum instead of Santa Monica. Of course none of this is official. In fact Broad hasn't even formally announced a shortlist or a location. And he's still waiting for city approval to lease the Bunker Hill site for $1 per year for 99 years (the LA CRA now owns the site, just next to the Walt Disney Concert Hall). But all this insider information is giving Washington politics and Wall Street banking a run for its money. Man, this Broad guy really knows how to play cities, and the media, doesn't he? He should become a businessman or something. Meanwhile, is any firm hotter than Diller Scofidio + Renfro?
According to both the New York Times and the LA Times, Eli Broad appears to have settled once and for all on a Downtown LA site for his new museum, and has gone so far as to hold a new competition for its architect. Further background has it that Thom Mayne, who had been favored to design Broad’s museum, is now out, and the new finalists are Rem Koolhaas, Diller Scofidio + Renfro, Herzog & De Meuron, Christian de Portzamparc, Foreign Office Architects, and recent Pritzker Prize winners SANAA. According to the New York Times, the jury appeared to favor Diller Scofidio + Renfro and Koolhaas. A choice, according to their story, could be made within the week. If built, the museum would be located on Grand Avenue just east of Frank Gehry’s Walt Disney Concert Hall and across the street from the LA Museum of Contemporary Art where he has played key roles recently in both keeping the museum on keel with a $30 million gift and steering it towards new director, Jeffrey Deitch. AN reported back on March 16 that Broad was leaning toward downtown for his museum. The site is currently slated for retail development within phase two of the now-stalled 3.5 million-square-foot Grand Avenue Project.
Even with last week's heat wave making it feel like July in the city, it will still be seven weeks before that oasis in New York Harbor, Governor's Island, opens for the season on June 5. But there's still plenty of reason to celebrate like summer's here, as the city reached its anticipated deal with the state for control of the 172-acre island yesterday. The city will now be responsible for the development and operation of all but 22 acres of the former Coast Guard base purchased for $1 from the federal government in 2003, whose National Parks Service remains responsible for a small historic district on the northern section of the island. This paved the way for the rather quiet unveiling today of the 87-acre final master plan designed by West 8, Rogers Marvel, Diller Scofidio + Renfro, Mathews Nielsen, and Urban Design+, which had been under lock in key since last spring, when the proposal was completed but held up by all the fighting over the island's, uh, governance. The thrust of the problem was largely a disagreement about how to best spend dwindling state funds, which led to upstate ambivalence toward the flashy park project—Governors Island almost didn't even open in 2009 after Governor Paterson initially withheld about a third of the $18 million annual operating budget. At the time, the design team had put in more than a year of work, with an expected unveiling in May that never came. In a wide-ranging piece in The New Yorker last August, Nick Paumgarten revealed that the designs had actually been under lock and key since then on the island, and now they've finally been unveiled online at a new-ish site. New-ish because they're are posts dating from May 8, 2009, confirming the presumed unveiling, along with another from April 8, 2010, suggesting that yesterday's announcement may have been worked out in advance, though we had also heard it was a rather abrupt agreement, hence the press conference scheduled for 6 o'clock on a Sunday night. As for the plan itself, in the past it was expected to cost upwards of $100 million to execute, though it will no doubt be higher in the end, plus another $30 million annually to operate, though that money would come from an outside source, quite possibly NYU dorms or biotech labs, though an agreement with the feds stipulates no residential development or casinos. All this for a 40-acres of park land plus the 90-acre historic island to the north, all encompassed in a 2.2-mile promenade. We'll have more to say about the designs in a day or two, but until then you can kick around the aforementioned website, which is almost as impressive as the place itself.