"As we strive to reach an increasingly diverse, more global fanbase and position the PGA TOUR for future success, we must be equipped to meet the ever-changing landscape in international business, media and technology," said PGA TOUR Commissioner Jay Monahan, in a press release. "Moving forward with this beautiful new global home in Ponte Vedra Beach will allow for more creative, efficient collaboration among our staff and partners, and will set us on the right path toward achieving our goals as an organization."It being Florida, Foster + Partners' building is designed to let in maximum sunlight. A central atrium surrounds the building's two parallel, three-story bays, which are glazed from floor to ceiling. Those bays will be connected by 20-foot-wide bridges, which, the London firm hopes, will encourage employee mingling and co-working without obstructing traffic in the core. Flexible workspaces are also located on the terraces around the atrium and on the periphery of the upper floors. According to the PGA TOUR, a freshwater lake surrounding the structure will, "[echo] the iconic ‘Island Green’ 17th hole from THE PLAYERS Stadium Course at TPC Sawgrass." The roof, meanwhile, will sport five skylights and hosts photovoltaic panels that will supply the structure with energy (the architects are going for a LEED Gold rating). The mercury rarely dips below freezing in Ponte Vedra Beach, so they won't have to worry about falling icicles, either.
Posts tagged with "Foster + Partners":
Foster + Partners has revealed plans for the new PGA TOUR headquarters near Jacksonville, Florida today. The 187,000-square-foot, neo-Modernist structure is slated for an undeveloped corner of the PGA TOUR's Ponte Vedra Beach, Florida's property. The office building will consolidate 750 employees who are now scattered throughout the Ponte Vedra Beach and St. Augustine area when it's complete in 2020. The PGA TOUR, which hosts golf tournaments all over the world, could accomodate several hundred more workers at the new headquarters if necessary.
Toronto opened the largest expansion of its subway system in decades on December 17th, after years of construction and delays. The massive infrastructure project serves as a link between the city's northern suburbs and its urban core, with the new six-stop extension of Toronto's Line 1 passing through Toronto's municipal boundary into the York region, the area adjoining Toronto's northern border. The 5.3-mile extension of the Spadina Line adds six unique stations, bringing the system total to 75. Each station is designed as a standalone piece and features contextual artwork that reflects the surrounding neighborhood. By matching architects with artists early on in the visioning process, Toronto officials hoped that the station's site-specific designs would give residents a sense of ownership and connection to the new spaces. Will Alsop’s aLL Design, Foster + Partners, and Grimshaw Architects were among the firms selected to design the stations. The Spadina Line extension is intended to spur high-density development in Toronto’s northern suburban periphery. The City of Vaughan, at the terminus of the Spadina line, is taking the lead in this redevelopment by transforming the area around the station into a mixed-use district with Diamond Schmitt Architects and developer SmartCentres. The Toronto Star reports the forthcoming 100-acre Vaughan Metropolitan Centre will feature Diamond Schmitt's 55-story Transit City and the 14-story KPMG tower. In total, the City of Vaughn estimates that the development will one day be home to 25,000 residents, and support 11,000 jobs. According to CBC News, the $3.2 billion project should add an additional 36 million annual train trips, while reducing the number of car trips by 30 million, and reduce congestion across the city. The subway's costs will be split evenly between the City of Toronto, the York Region, and the Province of Toronto. Overseeing the Spadina Line strategy is the outgoing chief executive officer of the Toronto Transit Commission, Andy Byford, who will assume control of the New York City Transit Authority, the Metropolitan Transportation Authority body responsible for handling New York's subways, before the new year.
Nearly 50 well known architecture, engineering, and landscape architecture firms have teamed up to bring a massive edible exhibition to life, as London’s Museum of Architecture hosts its annual Gingerbread City show. Master planned and sponsored by Tibbalds Planning and Urban Design, the utopian cookie metropolis is built to 1:100 scale and comprised of four neighborhoods. Old Town, which has twisting, narrow streets and is centered around Crumble Square, an industrialized New Town with a Central Baking District, a waterside energy district, and “eco-town”. The vastly differing styles of each neighborhood allowed the museum to feature every architectural typology, while designers were free to experiment in every style. Participants were asked to design for one of four categories, housing, landscapes, landmark buildings, or bridges, but with the caveat that they had to bake and decorate the gingerbread themselves. Foster + Partners, Zaha Hadid Architects, NBBJ, Periscope, Pitman Tozer, Burwell Deakins and dozens of other studios have all contributed to the Gingerbread City, including several bridges which link the distinct districts together. Zaha Hadid Architects and Foster + Partners were each given entire inidvidual islands in the eco-town to decorate as they wished. Because gingerbread is a finicky material to build with, firms had to find ways to keep their buildings structurally sound, while still being edible. Sugar glass, gumdrops, frosting and melted candy were all turned into supporting elements. But even the most intelligently designed cookie building is vulnerable to the elements. Speaking with CNN, museum director Melissa Woolford said that humidity inside the museum wreaked havoc on last year’s display, and that several buildings had collapsed in 2016’s show. Gingerbread City will be on display at the Museum of Architecture until this Friday, December 22nd.
The Visitor Center at the new Foster+Partners–designed Apple campus in Cupertino, California is now open to the public. According to a press release issued by the design team, the new visitor center will act as an “exclusive public gateway” to Apple Park, the official designation for the recently-opened 2.8 million-square-foot office campus. The visitor center features a roof terrace, quartz stone cladding, and marble finishes, among other features. These design elements are deployed in the visitor center in order to give the public a glimpse of the sumptuous finishes utilized in the office building proper, which is not open to the public and is accessible only via automobile. The visitor center also features a small exhibition space showcasing a scale model of Apple Park as well as a small cafe. Images released to commemorate the opening depict rounded glass walls and a thin wood and carbon fiber canopy topping the center’s most public facade. The images also showcase interior design elements like a quartz-wrapped staircase similar to those deployed throughout the campus’s office areas. In the press release, Stefan Behling, head of studio at Foster + Partners said, “The idea was to create a delicate pavilion where visitors can enjoy the same material palette and meticulous detailing seen in the Ring Building in a relaxed setting, against the backdrop of Apple Park.” The public visitor center is located within an olive grove, part of the OLIN-designed campus landscape plan, which includes 175-acres of woodlands, drought-tolerant plants, fruit trees, and expansive earthworks. The Philadelphia-based landscape architects planted over 9,000 tree specimens for the project. The campus has been criticized from all sides since opening earlier this year for its budget, internal layout, and mono-functional programming, among other aspects.
MVRDV’s stacked desires, Zaha Hadid’s latticework roofs, and other updates from the architects of Instagram
At The Architect’s Newspaper, we’re plain addicted to Instagram. Sure, we love seeing Brutalist concrete through “Inkwell” or “Ludwig” filters, but there’s also no better place to see where architects are getting their inspiration, how they’re documenting the built environment, and where they’ve traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don’t forget to check out our Instagram account here.) Last Friday, Rotterdam-based firm MVRDV opened The Why Factory (W)ego: The Future City is Flexible, a bright new installation for Dutch Design Week 2017 in Eindhoven. According to MVRDV co-director Winy Maas, the project is "based on the hypothesis that the maximum density could be equal to the maximum of desires." https://www.instagram.com/p/BaguLgZBAbV/?taken-by=mvrdv AN contributor and designer Adam Nathaniel Furman shared an alarmingly value-engineered facade in the UK. Beneath the fake brick, a hollow duct–a compelling metaphor for our current newscape. In the comments, there is a bit of hope: Furman and friends list British architects who would never do such a thing, like Sergison Bates, FAT Architects, Outram, or Caruso St. John. https://www.instagram.com/p/Baqmp7ag80u/ Bloomberg is getting a new $1.3 billion, Foster+Partners-designed headquarters in London. The bronze fin-covered building boasts artwork and installations by Cristina Iglesias, Michael Craig-Martin, Olafur Eliasson, and Langlands & Bell. Eliasson's No future is possible without a past crowns a central room within the building, resembling the silvery surface of a pond inverted onto the ceiling. https://www.instagram.com/p/Ban9Gxvnt8u/?taken-by=studioolafureliasson Zaha Hadid Architects completed the King Abdullah Petroleum Studies and Research Centre (KAPSARC) in Riyadh, the capital of Saudi Arabia. The 70,000-square-foot, five-building complex includes an auditorium, library, exhibit hall, and a prayer room sheathed in white latticework (pictured below). https://www.instagram.com/p/Barov2bFJr6/?taken-by=zahahadidarchitects
Foster + Partners has designed sub-tropical green spaces and a sculpture garden as part of the $100 million expansion of West Palm Beach’s Norton Museum of Art. The new landscape will be composed of native flora and is based on the spatial concept of the masterplan—a series of 1941 Art Deco-inspired pavilions—by creating a series of “garden rooms” formed by trees and plantings. Each room will have a thematic sculpture grouping, with works by artists like Keith Haring, George Rickey, and Mark di Suervo. Pritzker Prize-winning architect Lord Norman Foster called it a “museum within a garden” in a statement. The campus’s native trees and flowers will create shaded walkways, while a great lawn will provide an open-air venue. The design includes eighty-two mature trees, including eight mahogany trees brought in from around the state to be planted on site. At the center of the design is a banyan tree that was part of the original 1941 design. It will anchor the entrance while the roof of the museum curves around it. As for the building extension, AN’s Jason Sayer put it best. “A simple, all-white stone facade and minimalist form stay true to the aesthetic of the 1941 original by New York’s Marion Sims Wyeth, where a subtle Art Deco style creates a central axial courtyard. Later developments meant that the original axial configuration, on which the building was based, was lost.” The extension is Foster + Partners’ third building in Florida, and was unveiled in 2013, broke ground in 2016, and is set for completion in 2019.
Apple’s new $5 billion headquarters has been in the works for almost six years now and it recently opened its doors, only to reportedly receive complaints and criticism from some employees. A controversial building from its conception, rumor has it that Apple Park has been met with dissatisfaction from certain workers over its open and collaborative workspaces, according to the Silicon Valley Business Journal. The late Steve Jobs imagined the complex as a rethinking of the modern office—“I think we have a shot at the best office building in the world,” he said—and instructed London-based Foster + Partners to design a building that would fit all 12,000 Apple employees under one roof and include access to perks like a wellness center and cafes. Additionally, Apple Park moves away from private offices and cubicles and uses an open floor plan, bench seating, and shared desks. Although this design was intended to encourage collaboration between workers, some employees reportedly want the cubicles and old offices they left behind. Recent rumors of discontent among high-level Apple staff come from the notable Apple podcaster and blogger John Gruber. On his podcast, as reported by Silicon Valley Business Journal, he described how Apple’s Senior Vice President of Technologies Johny Srouji demanded a separate space outside the main building for his team. Reports of similar arrangements for other Apple employees were echoed by Bloomberg. Concerns from Apple workers were also echoed in a recent Wall Street Journal article that stated, “many will be seated in open space, not the small offices they’re used to. Coders are programmers are concerned that their work surroundings will be too noisy and distracting.” It is doubtful that Apple anticipated this response from its staff, but this conflict continues the ongoing discussion surrounding collaborative and progressive workspaces.
Apple is planting a forest in Cupertino, California. When the company’s new headquarters is completed later this year, 8,000 trees, transplanted from nurseries around the state of California, will surround the donut-shaped building by Foster + Partners. The trees are meant to beautify Apple’s 176 acres (dubbed Apple Park). But they will also absorb atmospheric carbon. That’s a good thing. Carbon, in greenhouse gases, is a major cause of global warming. Almost everything humans do, including breathing, releases carbon into the atmosphere. Plants, on the other hand, absorb carbon, turning it into foliage, branches, and roots—a process known as sequestration. That’s why, when architects, landscape designers, and urban planners concerned about climate change talk about their work, they often mention sequestration. These days, seemingly every project that includes greenery is touted as reducing atmospheric carbon. But how much carbon can one tree, or even 8,000 trees, sequester? I’ve spent a lot of time trying to find the answer. Among my sources is a 2016 article from the journal Landscape and Urban Planning titled “Does urban vegetation enhance carbon sequestration?” Its authors, several from the Singapore-MIT Alliance for Research and Technology, examine efforts to quantify the sequestration capacity of urban flora. For example, a study of a Vancouver neighborhood found that its trees sequestered about 1.7 percent as much carbon as human activities produced, while in Mexico City the figure was 1.4 percent. The results were worse in Singapore. Overall, the authors write, “The impact of urban vegetation to reduce greenhouse gas emissions directly through carbon sequestration is very limited or null.” Very limited or null. Another study seemed especially applicable to Apple. In 2009, researchers at California State University Northridge studied carbon sequestration on the university’s 350-acre campus. Students inventoried all 3,900 trees by type and size. Using data from the Center for Urban Forest Research, a branch of the U.S. Forest Service, they estimated the amount each tree was likely to sequester. The average was 88 pounds per tree per year. (By contrast, the average American is responsible for emitting about 44,000 pounds of carbon annually.) Then they compared total sequestration to the amount of carbon emitted by campus sources. (Those sources included the production of electricity to power campus buildings—but not transportation to and from campus.) The result: The trees sequestered less than one percent of the amount of carbon released during the same period. Put another way, the amount of carbon sequestered, at a school with 41,000 students, equaled the carbon output of eight average Americans. Are things better at Apple Park? On the emissions side, there is good news: The new building will rely largely on natural ventilation, reducing the need for air conditioning. (Note, though, that promises a building will perform a certain way often prove overly optimistic.) On the other hand, the campus is being designed with more than 10,000 parking spaces for some 12,000 employees, suggesting that the vast majority of employees will be driving to and from work. And those spaces are in garages that require lights and elevators. And the news gets worse. At Northridge, researchers looked at the trees as if they had always been there. But a reasonable approach to measuring the benefits of Apple’s trees would consider the carbon emitted in growing them off-site, bringing them to Cupertino, and planting them. Driving a flatbed truck 100 miles can release 100 pounds of carbon into the atmosphere—and Apple trees’ require thousands of such trips. And, since it wants the campus to be picture-perfect, Apple is using mature specimens. These are no seedlings; some are so large they have to be lowered into place by crane. And mature trees, because they aren’t growing much, hardly sequester any carbon. (Worse, when trees die, their carbon is returned to the atmosphere.) And keep in mind that many of Apple’s trees were already growing in other locations, meaning the carbon sequestered on the Apple campus would have been sequestered anyway. That suggests that any estimate of carbon sequestration at Apple Park should be reduced by at least half. In the plus column, grass and shrubs also sequester carbon, though not merely as much as trees, with their thick trunks and extensive root systems. So how much carbon will Apple’s trees sequester? The figures used in the Northridge study suggest that Apple’s 8,000 trees will remove some 700,000 pounds of carbon from the atmosphere each year. According to Apple’s submissions to the city of Cupertino, the new campus can be expected to produce 82 million pounds of carbon annually. That means that the carbon sequestered will be less than one percent of the carbon emitted. In short, Apple’s decision to plant 8,000 trees, whatever its other benefits, won’t have a significant effect on the amount of carbon in the atmosphere. The campus, even with a very green building at its heart, will emit more than one hundred times as much carbon as its trees absorb. That doesn’t mean we shouldn’t keep planting trees. But it does mean that, as with so many issues related to global warming, there is no quick fix. Thinking there is could keep us from making the tough decisions climate change demands.
An Apple store will be realized in the Carnegie Library at Mount Vernon Square, Washington, D.C. after plans were approved by the District's Historic Preservation Review Board (HPRB) last week. Last year, Events DC (the capital’s convention and sports authority) and Apple filed a letter of intent to lease portions of the 63,000-square-foot historic library. That now-approved plan includes restoring the exterior and retrofitting the interior to create retail, office, and exhibit spaces. Apple’s store will be designed by London-based Foster + Partners and the restoration efforts will be undertaken by New York–based Beyer Blinder Belle. Alterations already made to the neoclassical library, including a rooftop over the original skylight and the conversion of a reading room into a theater, will be reversed as part of the restoration process. The north elevation of the building will see a grander, rounded staircase replacing its current one, and a central pillar will be removed to enlarge the entryway and make space for a glass entrance. Other changes include the removal of the partitions in the library’s stacks and the original lay-lights in the Great Hall ceiling to create an atrium. Some of the proposed additions, mainly concerning 12 exterior banners fixed to the facade, are under revision for the quantity and size of the signage. “This new space, which will feature a massive video screen, new wall openings on both levels, and circulation 'bridges' connecting the upper floors, will significantly alter the historic layout and character of the interior,” a report from Historic Preservation Office (HPO) stated in Urban Turf. The current arrangement allows Apple to ‘co-locate’ in the library with the existing tenant, The Historical Society of Washington. Events DC will be able to use non-retail areas for special events. The building was constructed in 1903 and designed by Ackerman & Ross in the Beaux Arts Style; it was added to the National Register of Historic Places in 1969.
Late last month, Apple’s 12,000 employee workforce began to move into the technology company’s new 2.8-million-square-foot headquarters in Cupertino, California designed by architects Foster + Partners, according to a press release. The move-in process will take a full six months to complete, capping off the over eight-year long saga involved in transforming an old parking lot into the so-called “Apple Park” complex, which Apple has dubbed as founder Steve Jobs’s “last product launch,” according to Wired. Jobs initiated the quest to build the new headquarters in 2008, a project that consumed him until his death in 2011. In a statement, Apple CEO Tim Cook praised Jobs’s vision and said, “[Jobs] intended Apple Park to be the home of innovation for generations to come. The workspaces and parklands are designed to inspire our team as well as benefit the environment. We’ve achieved one of the most energy-efficient buildings in the world and the campus will run entirely on renewable energy.” To commemorate the end of construction for the $5 billion project, Apple has released several images of the completed complex, a building that contains the largest operable glass walls in the world, among its other superlative qualities. The donut-shaped office complex is located at the center of a 175-acre wooded site that has been reengineered by a series of earthworks and has been re-planted with over 9,000 specimens of drought-tolerant flora, including fruit trees. As if the building were a spaceship that had landed on its site, the highly-constructed landscape finds its way into the building’s donut hole-shaped courtyard, where it is accessible from the office spaces. The site arrangement comes from Jobs’s penchant for taking country walks in nearby areas; the office’s grounds contain over two miles’ worth of walking paths, among other features.
The main, four-story building is topped by slightly-gabled roof containing an 805,000-square-foot solar array that provides much of the power for the complex. The arrays are interrupted by a continuous, protruding light monitor that facilitates the building’s passive ventilation strategies. The building is not mechanically ventilated, but instead relies on a combination of convection cooling and thermal massing provided by radiant heating and cooling systems to regulate its internal climate. On one end, the building is punctuated by two pairs of four-story-tall hangar doors—each of which weighing 440,000 pounds—that are controlled by silent mechanical equipment embedded underground. Those apertures convert an interior, two-level yoga studio and cafeteria area into a massive outdoor room. The glass doors—and the curved glass curtain walls along the exteriors of the project—were fabricated by German fabricator Seele Group. The yoga studio and its attendant 100,000-square-foot wellness center will offer healthcare and dental services for Apple’s employees.
The complex also contains a 1,000-seat performancetheatere that will be named for Jobs. The theater is capped by a 20-foot tall, 165-foot wide glass cylinder and by a carbon-fiber roof. Designs for the theater were reportedly heavily influenced by Jobs’s sensitivities and will be used for the company’s future product launches. Construction and landscaping improvements will continue to wrap up on the complex as the employees slowly filter in over the following months.
Two new drone videos of Norman Foster's Apple headquarters have been released, giving an insight as to how construction is coming along. The footage from Matthew Roberts and Duncan Sinfield covers the goings-on at the soon-to-be 2,800,000-square-foot offices at "Apple Campus 2" in Cupertino, California. Flying over the site, you can see the huge circular shape that dominates the vicinity and has since become the campus's defining feature. Atop of the ellipse is an extensive array of solar paneling which, apparently, is roughly 65 percent complete. To speed up the construction process, wide atrium doors have been opened up fully to allow workers easy access to the site. Other elements of the program, though, cannot yet be so clearly seen. For example, a 1,000-seat auditorium is due to be constructed, as is an on-site power plant facility and fitness center. Though muddy now due to the rain Cupertino has been seeing of late, the center of the campus will feature a tree-filled garden for campus staff. The first trees, in fact, have just been planted. This is Roberts's eleventh update using drone footage. He has been tracking progress on the site monthly since March last year. Sinfield, however, has posted 19 videos dating back to June 2015. Apple Campus 2 employees are expected to move into the facility later this year. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect's Newspaper's coverage of your area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
Foster + Partners, and Heller Manus developers Oceanwide Holdings broke ground last week on the Oceanwide Center in San Francisco, a mixed-use project that, when completed, would become the city’s second-tallest tower. The project, a 2.4-million square foot complex consisting of condominiums, office space, and a hotel, occupies a 1.4-acre site and has been designed to contain public spaces in a pair of adaptively-reused historic structures along the ground floor. The complex will be composed of two towers: a primary 850-foot, 75-story tall structure containing 1,010,000-square-feet of office space and 111 condominium units and a 605-foot, 54-story tall tower containing a 171-room Waldorf Astoria hotel and 154-condominium units. The taller tower is demarcated by a large-scale, diagonally gridded truss system that climbs the height of the tower, creating a crenelated cap at the apex, while the shorter tower features a gridded facade filled with rectangular, punched openings. The gridded structure of the larger tower meets the floor to create a giant, open-air, landscaped plaza. The tower complex joins a series of other projects, including the Pelli Clarke Pelli Architects—designed Salesforce tower, the Heller Manus Architects—designed 181 Fremont, and the Handel Architects—designed Millennium Tower, are transforming the Transbay area of San Francisco. The new tower district is rising around the Transbay Terminal, a new multi-modal transit hub also designed by Pelli Clarke Pelli Architects. The first phase of the terminal is due to be completed in late 2017. Controversy erupted this year when the nearby Millennium Tower began to sink, a result of the fact that the tower is built on a concrete slab supported by 60- to 90-foot deep friction piles and not, as would be more structurally-appropriate for the area’s soil conditions, end-bearing pylons. As a result, the tower’s foundation does not actually reach the bedrock below the city and the tower has not only sunk 16-inches into the ground, but has also tilted between two- and six-inches toward the northwest. To avert a similar problem, Oceanwide Center is designed to be supported by foundation piles that drive down up to 400-feet below ground and connect directly with bedrock. Oceanwide Center is due to finish construction in 2021.