A group of 17 architecture firms from across the United Kingdom, including Foster + Partners, Zaha Hadid Architects, David Chipperfield Architects, Rogers Stirk Harbour + Partners, released an open letter affirming their commitment to heading off climate change and building a more equitable future for their profession. The planet is in "twin crises," the letter declares, under the heading "UK Architects Declare Climate and Biodiversity Emergency."
The full list of founding signatories, all 17 of which are RIBA Stirling Prize winners, is as follows: Alison Brooks Architects; Allford Hall Monaghan Morris, AL_A, Caruso St John Architects, David Chipperfield Architects, dRMM, Feilden Clegg Bradley Studios, Foster + Partners: Haworth Tompkins, Hodder + Partners: Maccreanor Lavington, Michael Wilford, Rogers Stirk Harbour + Partners, Stanton Williams, WilkinsonEyre, Witherford Watson Mann, and Zaha Hadid Architects.
Together, the group declared that as the construction and maintenance of buildings account for 40 percent of the world’s energy-derived carbon dioxide production, the architecture and construction industries have a responsibility to change their practices.
Their list of demands compiles practical changes that can be taken to mitigate further climate change, and to stem the ecological destruction that comes with new construction and urban sprawl.
“For everyone working in the construction industry,” reads the Architects Declare statement, “meeting the needs of our society without breaching the earth’s ecological boundaries will demand a paradigm shift in our behavior. Together with our clients, we will need to commission and design buildings, cities, and infrastructures as indivisible components of a larger, constantly regenerating and self-sustaining system.”
Those measures include collaborating with engineers, clients, and contractors throughout the project’s lifecycle to reduce waste: retrofitting older, existing structures instead of razing them for new construction whenever possible; enacting whole-lifecycle carbon and occupancy analysis; minimizing waste; sharing knowledge with colleagues whenever possible on best practices; incentivizing climate change and biodiversity loss mitigation through awards, and many others.
At the time of writing, 155 U.K.-based firms had signed the pledge. Earlier this week, Foster + Partners became the first architecture studio in the world to sign on to the Net Zero Carbon Buildings Commitment, meaning that all of their projects would be carbon neutral by 2030.
The Related Companies is bringing its vision of a ground-up, architecturally unified neighborhood to the West Coast, and has tapped Foster + Partners to design and master plan the 9.2-million-square-foot, 240-acre first phase of an $8 billion development in Santa Clara, California.
Santa Clara sits in the heart of Silicon Valley, abutted by San Jose, Mountain View, and Cupertino, where Google, Apple, and other tech titans are headquartered, and Related is banking on the need for offices, hotels, and apartments in the area. The unnamed development is the result of a public-private partnership between the city of Santa Clara and Related to transform a golf course into a mixed-use hub.
The plan includes 5.4-million-square feet of new office space; 1,280 new apartment units, 170 of which will be affordable, and 400 “extended stay” apartments with amenities; an Equinox hotel (Related owns Equinox) and a 440-room business hotel; and 1-million-square-feet of retail and restaurants. In future phases, Related has also blocked out up to 4-million-square-feet of space for a potential corporate campus on the site’s eastern end.
Foster + Partners is responsible for the site’s master plan and the design of the project’s first phase, with Gensler serving as the executive architect. The development is being pitched as extremely walkable and environmentally conscious, and indeed, the neighborhood is sited with links to Caltrain and BART, the Capitol Corridor Amtrak route, and VTA bus and rail lines. The project also neighbors the extant Levi’s Stadium and the convention center.
From the renderings, it seems that Foster + Partners is leaning heavily on timber, as the arched trusses and swooping canopy of the "Global Food Market," the “loft offices,” and other buildings prominently integrate mass timber. A 30-acre public park, of which Related will kick in $5 million towards the construction of, and numerous hiking and biking trails have also been planned.
The project was first announced in 2013 and has been working its way through public feedback and the city approval process ever since. As such, site work can begin immediately, and Related expects vertical construction to begin early next year. The development’s first phase is expected to open in 2023.
Apple has restored a cultural, historic, and civic icon in the heart of the nation's capital to serve as its newest retail store. With the recent launch of Apple Carnegie Library, the tech giant has opened its most extensively renovated retail space to date in Washington, D.C.Foster + Partners led the $30 million, two-year renovation of the historic Carnegie Library, a 1903 Beaux-Arts building in D.C.'s Mount Vernon Square. The new store aligns closely with Apple's rebranding of its retail spaces as "town squares" rather than stores, often located in historic and iconic sites and buildings, and intended to be used for more than just selling phones and computers. Apple Carnegie is the 13th such location to try to deliver on that concept.
The Carnegie Library was the District's first public library and first desegregated public building and served as D.C.'s central library until 1970. It then sat as a party rental space until the D.C. Historical Society garnered a rent-free 99-year lease with the city in 1999. The society launched a City Museum of Washington, D.C., in the building in 2003, but it closed just one year later. Since then, the library building has been targeted for a range of never-built proposals, including as a music museum and an international spy museum.
The new design for the Apple Store introduced a grand staircase that cascades out onto the street, removed later additions to the building, and restored the facade. Foster + Partners worked with the National Trust for Historic Preservation and other preservation experts to restore the facades and interiors, with an emphasis on reintroducing natural ventilation and bringing more daylight into the building. The retail space can be accessed by entrances on both sides of the building's north-south access, allowing for a route through the building. The central core of the building, which Apple is calling the Forum, is a double-height space topped by a skylight which is dedicated to workshops on Apple's products as well as to host performances and workshops.
Apple Carnegie Library also includes new programming for several acres of Mount Vernon Square, an urban park in the heart of downtown D.C. that the library is sited on. The plaza in front of the southern entrance will be dedicated to public concerts and events. Meanwhile, the grand staircase leads visitors to the Historical Society of Washington, D.C., which will remain as the building's long-term tenant. In the basement, the Carnegie Gallery is dedicated to educating the public about the history of the building through archival materials and photographs.
As Jonathan Ive, Apple's chief design officer, said in a statement, "Apple Carnegie Library will be a way for us to share our ideas and excitement about the products we create, while giving people a sense of community and encouraging and nurturing creativity."
However, some in D.C. are questioning how the civic icon could be turned over to a private company like Apple. Other "town square" stores have been rejected, most notably in Stockholm and Melbourne, where Apple had proposed to build new stores in historic public plazas.
After the cancellation of Foster + Partners’ $13 billion NAICM (Nuevo Aeropuerto Internacional de la Ciudad de México) via public referendum last October, the Mexican government opted to replace the scuttled Mexico City airport with a cheaper alternative.
Come June, according to Mexico News Daily, ground will be broken on the $3.8 billion Felipe Ángeles Airport at Santa Lucía Air Force Base. The design is extremely sparse compared to the spiderlike central airport proposed before it, and the first phase will feature a terminal, two runways, control tour, and a 4,000-car capacity parking lot.
The Felipe Ángeles Airport, rather than building on new land, will expand the Santa Lucía Air Force Base, and the project is being overseen and built by the military college of engineers. Brigadier General Ricardo Vallejo told Mexico New Daily that the airport should be open to travelers in June of 2021 and would accommodate up to 20 million passengers a year, growing to 80 million a year over the next five decades.
A new 29-mile-long highway will also be built to connect the northern Felipe Ángeles Airport to the existing Mexico City Benito Juárez International Airport (MEX) at a cost of $528 million.
The new airport is part of the Mexican government’s plan to split the traffic that the NAICM would have accommodated between two separate locations; currently MEX is operating at 50 percent over capacity. Additionally, the original Mexico City airport will gain a third, and possibly fourth, terminal to cope with the increased traffic.
The NAICM was canceled after President Andrés Manuel López Obrador pledged in 2018 as part of his presidential campaign to hold a public referendum over the project. With 70 percent of the public in opposition, the travel hub was canceled.
Although $5 billion had already been spent by that time, opposition to the project had been mounting on a number of fronts. The total cost of the airport, once demolition of Santa Lucía and the original MEX was factored in, was estimated at $31 billion. Additionally, NAICM was being built on the wetland plain of Texcoco and would have sunk by up to 16 inches a year. Because Texcoco is so low-lying, it would have also been inundated by stormwater runoff from the surrounding city.
Norman Foster has jumped into the international competition to design a replacement spire for Paris’s Notre Dame Cathedral, proposing a glass-and-steel topper to replace the cathedral’s ruined roof.
According to an interview in English publication The Times, Foster presented his vision for a new “light and airy” roof for the fire-ravaged cathedral. The previous attic space dated back to the 12th century and was nicknamed “The Forest,” as it contained a tangle of 1,300 timber frames, each coming from a unique oak tree—the sheer amount of wood likely fed the fire that ravaged it last week.
Foster’s updated vision for the cathedral calls for installing a glass topper, arched to mimic the original wooden roof, ribbed with lightweight steel supports. The new spire would be made of glass and steel and could potentially include an observation deck at its base.
“In every case, the replacement used the most advanced building technology of the age,” Foster told The Guardian. “It never replicated the original. In Chartres, the 12th-century timbers were replaced in the 19th century by a new structure of cast iron and copper. The decision to hold a competition for the rebuilding of Notre Dame is to be applauded because it is an acknowledgment of that tradition of new interventions.”
The modernization scheme drew an immediate reaction online, where social media users compared the revamped cathedral to a Foster-designed Apple store or the glass Reichstag dome in Berlin. Additionally, several people pointed out that the plan to flood the interior with light would be hamstrung by the stone vaulted ceiling below the attic space and would blow out any light coming in from the historic stained-glass windows.
It's a Gothic cathedral not a conference centre in Essex.
Of course, Foster isn’t the only architect to propose a radical overhaul of the 19th -century spire. Belgian artist Wim Delvoye, known for his neo-Gothic, laser-cut steel sculptures, announced last week that he would be entering the design competition as well.
Since the international competition was announced, plenty of people have gotten creative in envisioning “adaptive reuse” projects that give the historic cathedral a bland, modernist overhaul without regard for its surroundings. Even though these have been done in jest, some of them have come quite close to what Foster has proposed.
Restoration of Notre Dame should be mindful of its past while revealing its unique potential as an urban mixed-use development. Here at Pick Rogarth + Baumsnatch, we believe... pic.twitter.com/7XkTyPppo7
It looks like the latest collaboration between Foster + Partners and Apple is dead in the water. The pair’s future flagship Australian store in Melbourne, Victoria, has been blocked by heritage officials, and Apple has decided not to move forward with the project.
The pagoda-like Apple store was first revealed to the public in late 2017, and immediately drew criticism for its siting and design. Preservationists were up in arms over the decision to place the shop in the eight-acre Federation Square, Melbourne’s main public plaza. Federation Square emerged from a design competition sponsored by the Victoria government in 1999 to transform a polluted patch of industrial land on the Yarra River into public space. A group including Lab Architecture Studio, led by Donald Bates and Peter Davidson, Karres en Brands Landscape Architects, and the local firm Bates Smart, ultimately won the commission.
The square’s eclectic collection of three-story buildings, most of them clad in panelized glass, zinc, and sandstone arranged in dizzying patterns, have become a Melbourne fixture. To the square’s south is the Yarra Building, which currently holds the Koorie Heritage Trust, and would have been demolished to make way for the $35 million Apple store.
Other than the auspicious location, the store’s original tiered design drew comparisons to a pizza box, among other things, and Foster + Partners was forced to go back to the drawing board. In July of last year, the design team released a heavier, blockier scheme that oriented viewing angles out towards the river.
That effort now appears to have been for naught. On April 5, Heritage Victoria, a state body responsible for protecting Victoria’s cultural and environmental heritage, ruled that the Yarra Building’s demolition would fundamentally alter Federation Square’s fabric. With Heritage Victoria’s refusal, Apple announced that it would be abandoning its plans to build an Apple Global Flagship Store in the square.
Federation Square was nominated to the Victorian Heritage Register for historic preservation last August. Undeterred, Federation Square’s management submitted the application to Heritage Victoria for permission to demolish the Yarra Building in December. Now that the Apple store plan is off, Federation Square’s induction into the Victorian Heritage Register will be completed by the end of April.
London’s 1,000-foot-tall Tulip tower looks like it might have an easier time receiving approval than first thought. Plans for the Foster + Partners–designed observation tower will go before London’s Planning and Transportation Committee on April 2, but before that, planning officials have released a 152-page document expressing their support for approving the project.
The tower was controversial from the beginning. The Tulip would loom over the neighboring Gherkin in Central London, both developed by Jacob J. Safra, and its distinct “concrete-stem-and-glass-bulb” design drew ridicule online. The tower’s siting would also, according to a report released by the Greater London Authority (GLA) in January, impede views of the historic Tower of London. Questions over whether the building would contain an area open and free to the public, as required by the London Plan, were also raised. The GLA’s report came on the heels of concerns submitted to the City of London shortly after the tower’s reveal, wherein the London City Airport questioned whether the rotating, Ferris wheel-esque pods on the tower’s exterior would interfere with their radar systems.
The report released today acknowledged these issues, but on the whole, recommended the planning and transportation committee approve the scheme.
“Virtually no major development proposal is in complete compliance with all policies,” the report reads, according to BD Online, “and in arriving at a decision it is necessary to assess all the policies and proposals in the plan and to come to a view as to whether in the light of the whole plan the proposal does or does not accord with it.”
Additionally, planning officials praised the design, stating that it was “highly unusual and unique within the UK context” and had “the potential to become an architectural icon for the City, London, and the U.K.”
However, that doesn’t ensure that the scheme will sail through to approval, as a number of preservation groups, London mayor Sadiq Khan, and the Tulip’s prospective neighbors have spoken out against the plan. Additionally, the city’s built environment team, which is responsible for overseeing London’s public spaces, has expressed doubt that the street-level entrance would be able to handle the tens of thousands of expected annual visitors. Twelve stories of restaurants, observation decks, educational spaces, and rides would greet guests in the Tulip’s glass “bulb.”
AN will follow up on this story following the committee’s vote on April 2.
JPMorgan Chase, the largest bank and financial services company in the United States, filed permits last month to demolish its massive headquarters on Park Avenue to build an even bigger, 70-story tower on the same site for its ever-growing number of employees, according to CityRealty. The destruction of the 52-floor, 1.5-million-square-foot tower will mark the tallest planned demolition in history, surpassing that of New York City’s Singer and Deutsche Bank Buildings.
The 2.5-million-square-foot replacement will be the first skyscraper to rise up after the 2017 rezoning of Midtown East, which made a 73-block area surrounding Grand Central Terminal available to taller skyscrapers.
JPMorgan Chase has long been dissatisfied with its outdated headquarters at 270 Park Avenue, with over 6,000 of its employees jam-packed into a building meant for only 3,500 people. While the modernist tower was designed by Skidmore, Owings & Merrill’s esteemed Natalie Griffin de Blois, a female pioneer in the architectural field, it is not protected by landmark status from demolition.
Its soaring replacement will be more open and flexible with 20 additional floors where employees will have an extra one million square feet of office space.
JPMorgan Chase has slated the demolition work for early 2019, and a construction elevator can already be seen alongside the building. Once the new structure is completed in 2024, it will be one of the tallest buildings in New York City and one of the largest office buildings in the northern hemisphere. The design team, led by Foster + Partners, will seek LEED certification, and the project anticipates to introduce over 8,000 construction jobs to the city. In the meantime, JPMorgan Chase has negotiated leases at nearby buildings—including 237, 245, and 277 Park Avenue—for the workers who will soon be displaced due to the impending wreckage.
At the reopening of the renovated Norton Museum of Art earlier this month, Norman Foster revealed his two points of inspiration for the project: an existing banyan fig tree and Claes Oldenburg and Coosje van Bruggen's Typewriter Eraser, Scale X sculpture from 1999. Both elements were crucial to the architect’s intuitive redesign and reorientation of the museum’s entrance. The new west-facing forecourt features a 43-foot-high metal canopy with a scalloped cutout that cuts around the towering tree. Within the shaded hollow the overhang creates, an embedded reflecting pool surrounds the massive sculpture. This careful approach carries through the entire project.
Rather than create another statement-piece museum where the architecture steals the show, Foster + Partners opted for a contextual approach that spotlights the Norton's vast collection. Adding over 12,000 square feet to the original 1941 Art Deco building, the firm introduced a 210-seat auditorium, the museum’s first restaurant, and additional gallery spaces. Major extensions include the new 3,600-square-foot, double-height Ruth and Carl Shapiro Great Hall, featuring a unique concave skylight.
The 150-foot-long, glass-walled Ira and Nicki Harris Family Gallery extends from the former south-facing entrance. This addition flanks a covered promenade and a new sculpture garden. Occupying what was originally the Norton Museum of Art’s main 20,000-square-foot parking lot, the green space is Foster’s first ever public landscape project. The sculpture garden divides into two curated "rooms." Native plant species were spread throughout to highlight the museum’s subtropical surroundings.
Foster + Partners' renovation blends new and old components with a minimalistic, all white, stone facade. The firm also restored the museum’s existing galleries and six historic artist residence homes, located nearby. The redesign champions historic architectural detailing while also introducing large light-filled voids.
The overall reprogramming of the space mirrors the Norton Museum of Art’s curatorial vision; some of the museum's key historical collections are dispersed between temporary shows. The museum places emphasis on exhibiting female, African-American, and living artists.
The Norton Museum of Art officially reopened on February 9. This unveiling is only the first milestone in a 20-year masterplan that Foster + Partners has conceived for the museum.
An analysis of the Foster + Partners–designed “Tulip,” the 1,000-foot-tall observation tower first proposed for Central London in November of last year, has revealed that the as-is scheme would clash with the London Plan. In its 15-page report, the Greater London Authority (GLA) had “significant concerns with the design approach” and the potential impact on the public’s ability to see the Tower of London.
The London Plan, a strategic planning resource for development across the metropolis, lays out economically and environmentally sustainable development criteria that preserve the city’s heritage. The plan is also a framework for the mayor to consider when considering strategic planning applications submitted to the mayor's office. As the plan notes, responsibility for reaching the goals therein is shared between the Mayor’s Office, London’s 32 boroughs, and the Corporation of the City of London—with the GLA set up to administer the plan.
In their January 14 review of the Tulip’s strategic planning application, the GLA voiced its concern that the tower failed to comply with the London Plan. The authority pointed out that the scheme conflicts with London Plan Policy 7.7, which mandates that tall buildings set aside a free-to-enter public space (it’s presumed that the Tulip will charge for entry to its bulb-like observation area).
As for the design, which would balance the solid concrete shaft and glass observation topper above a two-story retail podium, the GLA wrote that: “officers have significant concerns with the design approach. The height appears unjustified and the introduction of significant expanse of solid and inactive building frontage would appear incongruous in the existing faceted context of the Eastern Cluster, drawing significant attention in this heritage sensitive location.”
The report goes on to note that the planning application made use of pedestrian numbers from 2015 as opposed to a 2025 forecast, and that as such, “The proposals are considered to result in a poor quality, unwelcoming, unnecessarily confined pedestrian environment contrary to Policy 6.10 of the London Plan and Policy to D1 of the draft London Plan. The proposals would not reflect the Healthy Streets approach detailed within Policies T2 and T4 of the draft London Plan. The level of cycle parking would not accord with draft London Plan Policy T5.”
The Tulip’s impact on the sightlines for historic buildings was also called into question.
This isn’t the first time official concerns have been raised over the building, as the London City Airport requested that construction be postponed until it could study how the gondola pods on the observation bulb’s exterior would impact its radar systems.
In response to the GLA report, Foster + Partners released the following statement to the Architects’ Journal: “We are pleased to see that the mayor of london considers the use of a visitor attraction as complementing the City.
“We welcome the detailed technical comments by GLA officers and, as part of the ongoing planning process, we will continue to work closely with the City of London Corporation and the GLA to resolve those matters raised and to improve the package of public benefits associated with the Tulip.”
If construction proceeds as scheduled, the Tulip is expected to break ground in 2020 and open to the public in 2025.
In November 2018, news first broke of the five-firm shortlist competing to design the $8.7 billion Terminal 2 at Chicago’s O’Hare International Airport. The star-studded list held both international and local firms, and today, Chicago city officials have made public designs for each team’s proposal. Chicagoans and frequent fliers have until January 23 to vote for their favorite designs and offer feedback, here.
The O’Hare 21 expansion, which will expand O’Hare from 5.5 million square feet to 8.9 million square feet, is a pet project of outgoing mayor Rahm Emanuel. O’Hare currently serves nearly 80 million travelers a year, and with demand projected to grow, the extant Terminal 2 (built in 1963) needs to be expanded.
The team of Colorado’s Fentress Architects, engineering and architecture firm EXP, Brook Architecture, and Garza Architects have proposed an undulating terminal with a ribbon-like canopy, held up by slender, full-length columns. A split in the terminal’s massing would allow natural light into the center of the building, a necessity given that the team has stacked more floors into its terminal than the other four.
Foster + Partners has been working with local firms Epstein and JGMA, and have produced a dramatically curved, cave-like terminal fronted by an enormous wall of glass. Foster’s terminal resembles a draped piece of fabric swaying in the wind that splits into three separate arched halls at the rear but opens to what they’ve dubbed a “theater of aviation” at the tarmac. The use of a crisscrossing truss system topped with glass creates a coffered ceiling effect while also allowing in natural light. From the renderings, it appears that the terminal’s interior will be clad in a warm wood finish.
Studio ORD Joint Venture Partners, the team formed by Chicago’s Studio Gang, Corgan Associates, Solomon Cordwell Buenz, and STL Architects, was heavily influenced by themes of convergence and confluence. Three curves join in the middle to carve out space for a massive central skylight. The roof of each curve, formed from ribs that extend into the terminal’s interior, tent in the center; it appears the underside of each will be clad in timber. The team has described their proposal as one that’s layered but easy to navigate.
Skidmore, Owings & Merrill (SOM), who have partnered with Ross Barney Architects and Arup, are proposing ORD, from a shortening of Orchard Field, the original name of O’Hare (unrelated to Studio ORD above). Although their plan is squarer than the others, the SOM team has also designed an undulating roof supported by coffered timber trusses. The roof would cantilever out over the terminal’s tall glass walls, and according to the video, ample landscaping that references Illinois’s nickname as “the Prairie State.” Intriguingly, the terminal would also include enclosed outdoor plazas, complete with tree-strung hammocks, for passengers to relax in.
Last but certainly not least, Santiago Calatrava and local firm HKS have presented the most ambitious of the five proposals (though it fits quite snugly within Calatrava’s oeuvre). Resembling a ship’s prow, the glass facade bulges in the center before terminating at a sharp point. Inside, large, unbroken spans are supported by Calatrava’s signature structural “ribs” to create a soaring interior space. The team has also proposed turning the existing parking area to the terminal’s rear into a landscaped “hotel, retail, and business complex,” though there’s no telling how much that would add to the budget.
The city and Chicago Department of Aviation are being pushed to make a decision before Mayor Emanuel departs in May of this year, and the project is expected to finish in 2026. Models of each team’s submission can be viewed at the Chicago Architecture Center until January 31, and Terminal 2 will be displaying the new designs digitally until the 31st as well.
Foster + Partners revealed renderings of the much-anticipated Lusail Iconic Stadium, an 80,000-seat soccer venue that will house the opening and final games of the 2022 FIFA World Cup in Qatar.The project, commissioned by Qatar’s Supreme Committee for Delivery & Legacy, will be situated within the center of the up-and-coming Lusail City, an under-construction modern metropolis set nine miles north of Doha. The British firm designed the centerpiece structure to mirror the ancient Arab craft of bowl weaving. It will feature a shimmery, gold palette wrapped around a slightly undulating exterior and a saddle-form retractable roof that will float above a concrete seating bowl. According to the architects, the stadium will boast a highly-efficient energy saving system, a requirement for FIFA World Cup constructions. Since Qatar’s climate is so intense, the building will help cool players and fans. Solar canopies will also hover over the parking and service areas to produce energy for the stadium and power the surrounding buildings.With Lusail Iconic Stadium, Foster + Partners joins the star-studded roster of studios that have designed projects for the tournament, including Zaha Hadid Architects and its controversial stadium in Al-Wakrah, which is near completion. Fenwick Iribarren Architects, a Spanish firm, is building a modular, 40,000-seat stadium made of repurposed steel shipping containers. After the tournament, the arenas are expected to be reused by the cities in which they’re built. The seats within Lusail Iconic Stadium, for example, will be removed and the structure will be used as a community space with room for shops, cafés, athletic and education facilities, as well as a health clinic. The project is slated for completion in 2020.