Posts tagged with "Diller Scofidio + Renfro":

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Hudson Yards’ first residential tower by DS+R and Rockwell Group tops out

The sprint to finish the first phase of the Hudson Yards megaproject is on, as the Diller Scofidio + Renfro and Rockwell Group-designed 15 Hudson Yards (Ismael Leyva Architects is serving as the architect of record and handling the interiors) topped out today. The 917-foot-tall condo tower will be the first residential building to open in the new neighborhood, and if construction finishes at the end of 2018 as planned, then the first phase of the new neighborhood will be on track for its March 2019 opening. The 285-unit 15 Hudson Yards is one of the last pieces of the project’s first phase, including the recently completed, bronzed stepwell Vessel nearby, and represents a culmination of five years of work at the site. Although the tower features a glass curtain wall similar to the other buildings on the site, 15 Hudson Yards gradually splits and rounds as it rises, resembling a set of conjoined smokestacks emerging from a square base. The LEED Gold-certified tower will also recycle stormwater, and use capture runoff to support the cooling systems. Once completed, residents will have 40,000 square feet of amenity space, including a 75-foot-long swimming pool in a full “aquatics center,” a fitness club, golf lounge, wine storage and tasting room, and a co-working space for residents. The lucky buyers get to look down on The Shed, as 15 Hudson looms over the extendable cultural venue, also designed by Diller Scofidio + Renfro and Rockwell Group. As the first phase of the 28-acre, 18-million-foot mixed-use development winds to a close, speculation is heating up over who developers Related Companies and Oxford Properties Group will tap to design the largely residential second phase of Hudson Yards. As AN reported earlier this month, architects Santiago Calatrava and Frank Gehry are both in the running to design residential towers on the western half of the site. Hudson Yards will contain about 4,000 residential units once it’s fully complete in 2024. Check out a time-lapse video of 15 Hudson’s construction below.
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The Shed kicks off programming in a smaller shed

While Diller Scofidio + Renfro and Rockwell Group's The Shed might not open until spring 2019, its creative team will be hosting nearly two weeks of free arts events this May to build anticipation for the ribbon-cutting. A Prelude to The Shed, held on a vacant lot at 10th Avenue and 30th Street in Manhattan, will feature live concerts, dance battles, art-focused political panels, and experimental classes that foreshadow offerings of the under-construction telescoping arts venue in Hudson Yards. From May 1 until May 13, visitors can experience Prelude in and around a reconfigured steel shed designed by architect Kunlé Adeyemi of NLÉ Works and artist Tino Sehgal. Prelude’s smaller shed will echo its larger counterpart by being fluid and transformable, with elements of the building able to move in response to the dancers within. “Using simple technologies, we made the structure so that it can be moved and transformed by people, enabling its participation in different formats of art, education, events, and public life,” said Adeyemi, in a press release. Each day of Prelude will bring a different program, though everything will be connected through Sehgal’s curation. Every morning, artist Asad Raza will lead experimental classes, based on his ongoing “Schema for a school” work, while panels on art’s role in social connectivity and the politics of ritualized gatherings will be hosted every other evening. Bolstering the series’ connection to The Shed, Prelude will host reproduced ephemera from architect Cedric Price’s Fun Palace, an unrealized moveable and multi-purpose venue that heavily influenced The Shed. Mobile exhibition carts stocked with artifacts from the Fun Palace will move around the temporary space to encourage public interaction. “Like The Fun Palace, Prelude is a hybridization of exhibition and performance, functionally structured to encourage open engagement with audiences and fresh, collaborative approaches from artists,” said Hans Ulrich Obrist, The Shed's artistic advisor. “It is emblematic of our own era in that it lends itself to the choreography of 21st-century time-based exhibitions.” A full schedule of Prelude’s programming can be found here, including a lineup for the concert series.
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Here are the winners of the 2018 AIA Honor Awards in architecture

This is the first article in a three part series documenting the 2018 AIA Institute Honor Awards. This lists the winners of the architecture category, while additional segments contain the winners in the interior architecture and regional & urban design categories. The American Institute of Architects (AIA) has announced the 2018 winners of the AIA Institute Honor Awards. The list contains projects from all around the world, and of varying programs and uses, and honors firms both large and small. From a girls’ school in Afghanistan to a municipal salt shed, this year’s widely diverse group of winning projects will be recognized at the AIA Conference on Architecture 2018 in New York City, in late June. This year's eight member jury panel included:
  • Lee Becker, FAIA (Chair), Hartman-Cox Architects
  • Anne Marie Decker, FAIA, Duvall Decker Architects
  • Susan Johnson, AIA, Strata; Anna Jones, Assoc. AIA, MOD Design
  • Caitlin Kessler, AIAS Student Representative, University of Arizona
  • Merilee Meacock, AIA, KSS Architects
  • Robert Miller, FAIA, Bohlin Cywinski Jackson
  • Sharon Prince, Grace Farms Foundation
  • Rob Rogers, FAIA, Rogers Partners.
  Project: Audain Art Museum Architect: Patkau Architects Inc. Location: Whistler, British Columbia, Canada From the AIA Jury: A beautiful, dynamic project that literally wraps users around nature, blurring the boundaries between man-made and natural. It creates a cultural magnet to help educate not only art, but eco-friendly design. The elegant structure hovers over a floodplain topography in an area that receives a large amount of snowfall, battling the elements through an architectural form that embraces the setting. Opportunity for people to live with art. The typology of the building is a stepping stone for Canada, a new icon, and a monument for British Columbia. It has helped elevate all of us. Project: The Broad Architect: Diller Scofidio + Renfro, Associate Firm: Gensler Location: Los Angeles From the AIA Jury: Simultaneously sedate and spectacular. It fits the context of the visually exuberant arts buildings in this neighborhood. More than holding its own as a figure, it also engages and takes the user in. The dark body-like, shapely vault is a beautiful counterpoint to the bright, thick, patterned light veil. The design intention is clear and carried through at every scale. The types of space created are unusual but engaging and composed. Project: Chicago Riverwalk Architect: Ross Barney Architects and Sasaki Associates Location: Chicago From the AIA Jury: A gift to city, it embraces Chicago's layered, diverse history by providing a range of amenities that provide forward looking opportunities. Transforms the once neglected downtown riverfront into a vast public space. Design that touches everyone. Subtle moments of education and insight into the ecology of the river, educating visitors and residents. It is the reinvention of urban life that brings attention back to the waterfront. Project: Gohar Khatoon Girls' School Architect: Robert Hull, FAIA, and the University of Washington, Department of Architecture Location: Mazar-i-Sharif, Afghanistan From the AIA Jury: A beautiful and restrained aesthetic with limited means. Architecture is a modern take on Afghan history and masonry construction. This elevates respect for women and girls overall when state resources are used to this extent and design, adding an intent to create an urban oasis and promote community engagement. This space and the process communicates a new era for girls and women very powerfully. It is remarkably resourceful by integrating natural sustainability measures while operating within a weak infrastructure in the country. Project: Manhattan Districts 1/2/5 & Spring Street Salt Shed Architect: Dattner Architects in association with WXY architecture + urban design Location: New York City From the AIA Jury: The Salt storage building took what is usually an industrial construction built as economically as possible into urban art. It raises the bar significantly for civic infrastructure. Unapologetic platonic shape with beautiful skin with commitment to civic expression, environmental responsibility, and sensitivity to the urban context design solution that successfully integrates critical services into the neighborhood. The pursuit of a visual oxymoron to sanitation, and investment therein, is laudable and uplifting to an entire neighborhood and heavily used city corridor. Highly innovative. Project: Mercer Island Fire Station 92 Architect: Miller Hull Partnership Location: Mercer Island, Washington From the AIA Jury: Operations drives design and the execution is flawless. A necessary renovation turned modern reinterpretation of a traditional civic building into a simple box with layers of transparency that visually and physically connect the functions to the street. Great balance of functionality and warmth of materials make this a beautiful facility. Balanced work and relaxation are desired combo for firefighting facilities and certainly that balance is achieved here. As a public project, it is clearly a labor of love. Super judicious use of materials; great scale, sense of public awareness. Best of all this honors the incredibly hard working firefighters deserving of such a light space. Project: New United States Courthouse Architect: Skidmore, Owings & Merrill LLP Location: Los Angeles From the AIA Jury: The design's fascination with natural light and white spaces is nicely contrasted by the golden wood interior figures and floors. The building's form is a representation of site and topography, functionality, environmental performance, civic presence, and public spaces. Traditional materials and architectural elements enliven its civic presence, while modern elements introduced through the glass assembly façade create an iconic image for a 21st Century courthouse building while also providing positive environmental performance. This powerful composition and the generosity of its public spaces gives the project a clear civic presence, separating it from its commercial neighbors. Project: Vol Walker Hall & the Steven L. Anderson Design Center Architect: Marlon Blackwell Architects Location: Fayetteville, Arkansas From the AIA Jury: A complimentary and progressive pairing of modern and traditional forms. Consistent orchestration of natural light and a sparse but powerful use of red to make landmark moments in the building is invigorating. Sets the opportunity for an interesting contrast between the old and new wings. The expanded facility unites all three departments – architecture, landscape architecture, and interior design – under one roof for the first time, reinforcing the School’s identity and creating a cross-disciplinary, collaborative learning environment. The overall design is a didactic model, establishing a tangible discourse between the past and present while providing state-of-the-art-facilities for 21st century architectural and design education. Every space seems equally well resolved, simple, elegant Project: Washington Fruit & Produce Company Headquarters Architect: Graham Baba Architects Location: Yakima, Washington From the AIA Jury: This sits on the landscape beautifully and creates space for meaningful community. The oasis among the warehouses is functional, sustainable, spatial and formal. The design idea is integral and cohesive. An idea with depth. Occupied spaces are oriented towards the heart of the place - the courtyard, avoiding views towards the surrounding freeway and industrial warehouses; earth berms surrounding the building focalize views out to the landscape and blurring the boundary of architecture and site. The owners’ commitment to creating a respite from the industrial environment for their employees led to an exploration of curating views and outdoor spaces. The result is a workspace that encourages quiet contemplation, community and productivity.
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Diller Scofidio + Renfro announced as designers of London’s Centre For Music

Diller Scofidio + Renfro have bested a shortlist that included Frank Gehry, Renzo Piano, Snøhetta and Foster + Partners, winning the commission to design the Centre For Music, the new home for the London Symphony Orchestra and the Guildhall School of Music and Drama.  The Centre will be located near the Barbican complex in the City of London (where the Symphony currently performs), on a site now occupied by the Museum of London—which will move to a new home a half-mile west in West Smithfield. The Brutalist museum was designed in 1976 by Philip Powell and Hidalgo Moya, 1974 winners of the Royal Gold Medal For Architecture. DS+R's Centre is set to contain a concert hall with up to 2,000 seats, as well as classrooms and training spaces. Its cost, which reports estimate at between £200 and £250 million, is to be funded largely through private donations, although the City of London earlier this year chipped in £2.5 million for a business plan. Explaining their choice in a statement, the Centre's architect selection panel said they felt DS+R "most clearly met the vision and ambition of this project, utilising their experience of creating inspiring new spaces for culture to present a proposal that delivers a world-class concert hall in an outstanding new building, as part of the re-imagination of a key area of the City of London within Culture Mile.” Other members of the design team will include Buro Happold (civil and structural engineer and building services engineer), Nagata Acoustics (acoustician), Charcoalblue (theater consultant), and AECOM (cost consultant). According to DS+R, a concept design will be submitted to the City of London Corporation by December 2018. The building will not just be a permanent home for the London Symphony, but will also host performances from the Barbican's family of orchestras and ensembles and from touring orchestras and artists. It will be a vital piece of The City's "Culture Mile," a conglomeration of nearby arts facilities also including the Barbican, Milton Court Concert Hall, and more.
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U.S. Pavilion announces design teams for 2018 Venice Architecture Biennale

Seven design teams have been selected to represent the United States in the U.S. Pavilion at the 2018 Venice Architecture Biennale.  The pavilion's curators, Niall Atkinson, from the University of Chicago; Ann Lui of the School of the Art Institute of Chicago, and Los Angeles–based critic and curator Mimi Zeiger, selected Dimensions of Citizenship as the theme of this year's exhibition, to engage architecture in the timely question of what it means to be a citizen. According to the curators, the selected teams represent a range of design practices, from the technical to the speculative, but "are united by researched-based methodologies and the drive to use that research to push boundaries—formal, disciplinary, and political.” Each team will examine a different dimension of design and citizenship. Their projects will be placed in dialogue with existing projects by architects and other practitioners, who will be announced later. The selected exhibitors are: Amanda Williams + Andres L. Hernandez (Chicago, IL) This duo brings an artistic and political bent to the Pavilion: both Williams and Hernandez have training in architecture and explore themes related to race, vacancy, and blight in urban landscapes. Williams is most widely known for her work Color(ed) Theoryshown in the 2015 Chicago Architecture Biennale; Hernandez is co-founder of the Revival Arts Collective as well as the founder and director of the Urban Vacancy Research Initiative. DESIGN EARTH (Cambridge, MA) Headed by MIT's Rania Ghosn and El Hadi Jazairy, this design research practice works on the geographies of technological systems from speculation into the problems posed by waste management to the fate of oil-rich landscapes. They're currently at work on an exhibition titled Geostoriesa "manifesto [...] on the environmental imagination presented in architectural projects that engage the planetary scale with a commitment to the drawing as a medium." Diller Scofidio + Renfro (Cambridge, MA) This heavy-hitting firm will already be familiar to many. Best known for their work on the High Line in New York City, The Broad in Los Angeles, and the Institute of Contemporary Art in Chicago, DS+R brings a seasoned, interdisciplinary team to the task. Estudio Teddy Cruz + Fonna Forman (San Diego, CA) This research-based political and architectural practice is comprised of two professors from the University of California, San Diego (USCD): Teddy Cruz and Fonna Forman. Over the years, the two have examined issues of informal urbanization, civic infrastructure, and public culture, mostly focused on Latin American cities. They also co-head USCD's Cross-Border initiative, whose mission is "to promote interdisciplinary poverty research and practice in the San Diego-Tijuana border region." Keller Easterling (New Haven, CT) Easterling is a professor at Yale University's School of Architecture and a prolific author of eight books and countless articles. Her most recent publication through Verso, Extrastatecraft: The Power of Infrastructure Spaceslooks at global infrastructure with the angle that "emerging governmental and corporate forces [are] buried within the concrete and fiber-optics of our modern habitat." SCAPE (New York, NY) Founded and directed by Columbia GSAPP professor Kate Orff, SCAPE is a landscape architecture firm with an eye on large-scale ecological resilience. In its winning entry to the 2014 Rebuild by Design competition, Living BreakwatersSCAPE employed multiple lines of storm surge defense including artificial reefs promoting biodiversity in New York City's heavily polluted harbor. Orff has also published an examination of the chemical corridor between New Orleans and Baton Rouge, Louisiana, in partnership with photographer Richard Misrach – Petrochemical America – and more recently, Toward an Urban Ecology. Studio Gang (Chicago, IL) Architect and MacArthur fellow Jeanne Gang is also well-known for her designs, from her undulating Aqua Tower to her Women's March-inspired exhibit Hive at the National Building Museum. Studio Gang's international work centers on a design principle of "actionable idealism" – the capacity for design to push public awareness of different issues (whether climate change, inequity, or urban decay) and encourage change – which will lend itself well to this year's theme.

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Additionally, Iker Gil – a professor at the School of the Art Institute of Chicago (SAIC), Director of MAS Studio, and founder of its design journal MAS Context – has been selected as associate curator of the exhibition to join the curatorial team of Atkinson, Lui and Zeiger.
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BSA Space’s new exhibition explores the past, present, and future of inflatable architecture

Boston's BSA Space is exploring the evolution of inflatables at its newest exhibit, The New Inflatable Moment, on display through September. The exhibition was inspired by The Inflatable Moment: Pneumatics and Protest in ’68, a 1998 book and exhibition by Marc Dessauce and The Architectural League of New York, which explored the relationship between inflatable technology and utopia. “With this exhibition, we revisit the moment of the 1960s explored by Dessauce to suggest that utopian thought is re-emerging today in architecture and art as evidenced by projects involving inflatables,” said curators Mary Hale and Katazyrna Balug in the exhibit description. From the advent of the hot air balloon to the studies of inflatable houses on Mars, the evolution of inflatable structures will be displayed in an interactive timeline created by Boston-based design agency Certain Measures. The timeline provides context for the different projects on display, showing them adjacent to corresponding sociopolitical moments in history. A series of installations, photos, videos, and models will also populate the exhibit, depicting the ways inflatables have embodied the radical and experimental thinking of architects and artists throughout history. Work by the likes of Buckminster Fuller, Ant Farm, Diller Scofidio + Renfro, and many others, will explore the experimental designs of this bubble-like architecture as well as the advancements in technology that are pushing inflatables into the future, and into space. “The exhibition reveals some of the most visionary architectural minds working with new methods of display and communication,” said Laura Wernick, chair of the BSA Foundation, on the exhibit’s web page. “Its premiere at BSA space will empower designers to similarly think and work in new ways to create a better future and motivate the general public to believe in it.” An opening reception for the exhibit will be held on Wednesday, May 17 at 6 p.m. The exhibition is currently open and runs through September 3, 2017. For more information about the exhibit please visit the BSA Space website here.
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Elizabeth Diller is working on an opera for the High Line

New York architect Elizabeth Diller, a founding partner at Diller Scofidio + Renfro (DS+R) is working on an opera (yes, an opera) for the High Line. The show is expected to take place in 2019 and has been appropriately coined the Mile Long Opera. Diller will be working with composer David Lang and sound designer Brude Odland for the project. Diller has been playing with the concept for some years now. According to The Real Deal, Diller said the idea took inspiration from a woman who used to put on her own self-starring cabarets on her fire escapes. Known as the Renegade Cabaret, the shows were a reaction to people who were supposedly encroaching on the privacy of a condo on West 20th Street that looked on to a park. No other information is currently known about the Mile Long Opera. Diller, though, has worked with Lang in the past. DS+R and Lang produced Musings on a Glass Box which was held at Jean Nouvel's Fondation Cartier pour l’Art Contemporain in Paris in 2014. That same year, in an interview with Surface Magazine, Diller gave a hint that an opera was in the works. "We’re working on a large-scale opera, which is really a new kind of urban project," she said. "We’re really trying to get at the gesamtkunstwerk—the total project." Diller doesn't just have musical aspirations either. Speaking to Architect Magazine also in 2014, she discussed her work with Spike Jonze for the film Her. "In college I’d had a fantasy of being a filmmaker. I’d taken film courses at Cooper Union and then somehow detoured into architecture," she said. "But the film bug never really left. If I could leave my life for five years, I would love to construct a film from scratch.
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2016 Best of Design Award in Facade: Vagelos Education Center by DS+R with Gensler

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.

2016 Best of Design Award in Facade: The Roy and Diana Vagelos Education Center at Columbia University

Architect: Diller Scofidio + Renfro with Gensler Location: New York, NY

This state-of-the-art medical and graduate education building at Columbia University embraces how medicine is taught, learned, and practiced in the 21st century. The facility rethinks the conventional stacked floor plate typology of high-rise buildings by complementing traditional classroom and laboratory spaces at the north side of the building with a network of social and collaborative study alcoves that connect via a cascading open staircase on its south side. By combining this with a range of sustainable features, Diller Scofidio + Renfro and Gensler have created a forward-looking training ground for future healthcare practitioners.

Facade Consultant BuroHappold

Structural Engineer Leslie E. Roberston Associates Curtain Wall Fabricator/Installer Josef Gartner, Permasteelisa Group Glass BGT Bischoff Glastechnik AG Glass Fiber Reinforced Concrete (GFRC) David Kucera, Inc.

Honorable Mention, Facade: 371 Broadway

Architect: ODA New York Location: New York, NY

To balance this building’s modern appeal with the old world aesthetics of its environment, ODA New York reinterpreted Tribeca’s cast-iron typology with curving, basket-weave brick that expresses a similar scale to that of its pre-war neighbors.

Honorable Mention, Facade: USTA Grandstand Stadium

Architect: Rossetti Location: Queens, NY

The stadium facade is composed of 486 individual Teflon-coated fiberglass membranes that vary in opacity and translucence, offering glimpses in and out of the stadium as if through foliage.

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“Pierre Chareau: Modern Architecture and Design” at The Jewish Museum

Pierre Chareau: Modern Architecture and Design is the first-ever U.S. show on the French designer and architect and the first show globally on Chareau in 20 years. It highlights the architect’s rare remaining furnishings, light fixtures, interiors, and his extensive art collection, with an emphasis on his time spent in New York. The exhibition was designed by Diller Scofidio + Renfro (DS+R), which used archival photographs and pochoir prints to recreate four interiors designed by Chareau in virtual reality: the salon and garden of his seminal Maison de Verre, a living room, and Chareau’s own home office. To represent Chareau’s Maison de Verre, DS+R also created a large-scale digital reconstruction that meticulously documents the house, as short films art-directed by Diller demonstrate the house in action.

Pierre Chareau: Modern Architecture and Design The Jewish Museum 1109 5th Avenue New York, NY Through March 26, 2017

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First U.S. exhibition devoted to Pierre Chareau opens at NYC Jewish Museum

Pierre Chareau: Modern Architecture and Design at the Jewish Museum is the first-ever U.S. show on the French designer and architect and the first show on Chareau globally in 20 years. It highlights the architect's rare remaining furnishings, lighting fixtures, interiors, and pieces from his art collection. The exhibition was designed by Diller Scofidio + Renfro (DS+R) and Liz Diller was present for the show opening. “Chareau was always a hero of mine in school, but I couldn’t quite figure him out,” she said. “Decorative, functional, rubber, metal, glass, mahogany, Marxism, hinges, things that swing, clinical, gynecological, lush, and idiosyncratic most of all. This opportunity really gave me a second chance to learn about this figure.” Chareau, who left Paris in 1940 after Germany occupied the city during WWII, lived in New York for ten years and attempted to rebuild his career in the U.S., expanding his work into metal and glass and landing commissions such as Robert Motherwell’s house in East Hampton, Long Island. During this time his extensive art collection was sold, including pieces by Picasso and Mondrian, and his designs were similarly scattered. The show attempts to reconcile these losses by piecing them together in cohesive ensembles. DS+R faced several challenges when designing the exhibition. “How can one architect display another architect's work without their voice getting in the way?” Diller said. “We knew we had to find some kind of neutral voice that was in the background, but also present.” Another one of the challenges for the exhibition, Diller said, was to resituate Chareau’s rare works without resorting to full period rooms that—for spatial and aesthetic reasons—weren’t ideal. Instead, the firm used archival photographs and pochoir prints to recreate four interiors designed by Chareau in virtual reality for visitors to experience: the salon and garden of his seminal Maison de Verre, a living room he designed, and Chareau’s own home office. “Very little of Chareau’s interior production survives—a private residence an ocean away and an array of singular furnishings that are in museums and private collections dispersed to all corners of the world. These solo pieces are meaningful in their native settings, but removed they lose their relationship to space, to architecture, to time, to function; they are truly orphaned. Virtual reality provided the perfect opportunity to re-spatialize these artifacts, these pieces of furniture,” Diller said. For the Maison de Verre, DS+R wanted to convey the spatial transparency and the open, industrial aspects of the building. Taking a clinical, analytical perspective, DS+R created a large-scale digital reconstruction that meticulously documents the house as short films art-directed by Diller demonstrate the house in action. Pierre Chareau: Modern Architecture and Design will be on view at the Jewish Museum November 4 through March 26.
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DS+R’s Vagelos Center masterfully balances verticality, high-tech medicine, and spaces for learning

It is easy to walk through the Roy and Diana Vagelos Education Center of Columbia University Medical Center by Diller Scofidio + Renfro (DS+R) and forget that one is on a campus. Where are the large lecture halls with auditorium seating? Is there really no cafeteria? Surely a medical and graduate education building requires dedicated spaces to accommodate the differences between orthopedics and cardiology? Although the building contains a dramatic auditorium with a spectacular view of the Hudson River, the Palisades, and the George Washington Bridge—not to mention a donated grand piano ready to be rolled in for concerts—it eschews traditional classrooms in favor of “active learning classrooms” with operable partitions.

Exterior terraces, stepped lounges, and the sky lounge on the top floor create a visually and kinesthetically beguiling feast of nooks and corners for conversation and the exchange of ideas. Although permeated by the most advanced media technology, which can disseminate the latest research or procedure to every screen in the school, its spirit is that of an ancient academy in which small groups of students and teachers collaborate, talk, listen, and learn. One can easily imagine distraught medical students finding comfort after their first anatomical dissections in one of the many study spaces or in the double-height student commons. In this building, the micro and the macro, the cell and the city, obtain a wondrous harmony.

That this 100,000-square-foot, 14-story tower is the tallest building yet realized by DS+R—and one of the rare medical school facilities designed as an integral vertical structure—inevitably raises the question of how successfully the architects have negotiated the jump to a larger scale and the challenge of building a Manhattan high-rise. Happily, nothing in the Vagelos Center, except perhaps the somewhat perfunctory lobby, misses a beat, from the circulation and separation of complex programs, to the small footplate that creates intimacy by eliminating long and alienating corridors, to the soundproofing that admits city sounds while maintaining a welcome quiet. The “study cascade” side of the tower evokes the “folded noodle” of the architects’ unrealized design for the Eyebeam, here subject to a rigorous logic that is likely to establish this building as the textbook example of a design strategy much discussed in the late 1990s and early 21st century but not often realized effectively.

One has come to expect unexpected design elements and technical solutions in a DS+R building. An anatomy classroom with glazed walls and views of the river, a load-bearing column through which one can walk, a landscaped garden space open to surrounding student residences, ceramic “frit” patterns on the north end of the building to filter and diffuse sunlight, and an exterior cladding panel system of glass-fiber-reinforced concrete do not disappoint in this regard. The architects, long known for their concern with the visual arts, performance, and media technology, designed the Mary and Michael Jaharis Simulation Center—about 18 percent of the building, where future physicians train with computerized whole-body mannequins and watch video footage—with a humility that reinforces the astonishment of watching medical robots perform open-heart surgery or deliver babies.

Nearly four decades since Elizabeth Diller and Ricardo Scofidio began the collaboration that today is DS+R, they have completed their most perfectly resolved building, an amalgam of their interests and the lessons learned from earlier projects, such as the Institute of Contemporary Art, Lincoln Center, and the Juilliard School. The flexibility of the Granoff Center arts building at Brown University, completed in 2011, is taken to an entirely new level.

Deftly balancing reality and simulation, dialogue and image, science and art, the Vagelos Center is joyous and life-affirming, qualities all too often absent today in architecture and medicine. During a summer with no apparent end to bad news, it is a signal event and a credible ground for optimism.

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2016 ACADIA Conference announces full keynote schedule

This year’s ACADIA conference, entitled "Post Human Frontiers: Data, Designers, and Cognitive Machines" will focus on design and research that lies at the “intersection between procedural design, designed environments and autonomous machines.” ACADIA, the Association for Computer Aided Design in Architecture, has recently announced it keynote line-up, which includes Elizabeth Diller, who will be accepting a Lifetime Achievement Award from the conference. The conference, which will run from October 27th through the 29th, will be held at the University of Michigan Taubman Collage in Ann Arbor, Michigan. The keynote speakers will range from academics to practitioners, each bringing their own perspective on the state of the growing field of autonomous machines for making architecture. final_diller_keynote Four keynotes will discuss their recent research and practice in the field of computer-aided design. Speaker Mario Carpo, Dr.Arch, PhD, HDR focuses his research on the intersection of architectural theory, cultural history, and the history of media and information technology. Iris van Herpen’s talk will explore her Haute Couture digital fashion, and the relationship between craftsmanship and innovation. Visual artist and architect Philip Beesley, MRAIC OAA RCA will continue the discussion of digital fabrication and design, looking at Beesley’s association with the Living Architecture Systems Group (LASG). LASG is an international consortium of academics, institutional, and industrial partners developing building techniques that have the qualities of living organisms. Director of the Architectural Association’s Design Research Lab (AADRL), Theodore Spyropoulos’s work looks at the intersection of form and communication. Elizabeth Diller, founding partner of Diller Scofidio + Renfro (DS+R), will be awarded the ACADIA 2016 Lifetime Achievement Award and will give a keynote address. Keynote Schedule – Thursday, October 27th 1:30 pm – Theodore Spyropoulos Thursday, October, 27th 5:00 pm – Iris van Herpen & Philip Beesely Friday, October 28th 6:30 pm – Elizabeth Diller Saturday, October 29th 6:00 pm – Mario Carpo For the full schedule of events go to