Gary Hustwit, the director of documentaries Helvetica, Objectified, and Urbanized, has announced a new film, Workplace, in time for the 2016 Venice Architecture Biennale. Workplace follows the design and construction of R/GA's New York City headquarters. R/GA is one of the world's most prominent advertising agencies, with offices in 15 cities worldwide. Since its founding more than four decades ago, the agency has contributed to more than 400 feature films and over 4,000 television commercials. In collaboration with Foster + Partners, the agency spent a year and a half thinking about how to synthesize digital and physical space for a more harmonious office environment that facilitates collaboration and connects offices to the world outside. Hustwit explains that the theme of the documentary—improving office space—coincides perfectly with the Biennale's theme, "Reporting from the Front." In the words of Biennale director Alejandro Aravena: “There are several battles that need to be won and several frontiers that need to be expanded in order to improve the quality of the built environment and consequently people’s quality of life. We will present cases and practices where creativity was used to take the risk to go even for a tiny victory, because when the problem is big, just a one-millimeter improvement is relevant.” If this sounds familiar, it's because myriad firms, environmental psychologists, and student projects have tried to "rethink the office" already. It remains to be seen what Foster + Partners, with their experience designing workspaces for London's Bloomberg headquarters and San Francisco's Oceanwide Center, among others, will contribute to the conversation. At this time, no images of the office's interiors are available online. The film will premiere at the Biennale, and run from May 28 through November 27.
Posts tagged with "Foster + Partners":
Commemorating the 75th anniversary of the Norton Museum of Art in Palm Beach, British architect Norman Foster was on site to see his expansion break ground. The new development, called "The New Norton," will see further galleries added along with visitor facilities all within the "original axial layout of the Museum." In what will be his third project in Florida, Foster has laid the foundations at West Palm Beach for further growth, with the aim of the museum to become a leading cultural institution in the Sunshine State. "The new extension of the museum represents an exciting opportunity to place the reinvigorated Norton at the heart of Florida’s cultural life and to establish its international presence, allowing more people to enjoy the museum’s very special collection," said Foster in a press release. A simple, all-white stone facade and minimalist form stays true to the aesthetic of the 1941 original by New York's Marion Sims Wyeth, where a subtle Art Deco style creates a central courtyard. Later developments meant this original axial configuration, on which the building was based, was lost. Foster's master plan dutifully restores Wyeth's symmetry, adding a sense of clarity to the site. In the process, Foster has explored varying topological arrangements to provide a flexible space able that will now be able to attract a much wider local and international audience. Room for further expansion can be seen via the provision of infrastructure that will facilitate of two more exhibition wings being built on the eastern end of the building. "Creating new event and visitor spaces that will transform the museum into the social heart of the community; as well as increasing the gallery and exhibition spaces, to engage with a wider audience," Foster added. Three double height pavilions will now act as the museum's entrance, countering the low-rise galleries and while merging with the three-storey Nessel Wing. Within these pavilions will be a "state-of-the-art auditorium," Grand Hall, which "will be the new social heart for the local community." Also included is a shop, event space, education center, and restaurant that can operate independently from the museum. These spaces will all be coalesced underneath a canopy. Within the vicinity will be an open public space that will be used as a live performance space and venue for "Art After Dark," an evening show hosted by the museum. Spencer de Grey, co-head of design at Foster + Partners, said, “this groundbreaking ceremony marks the moment where the process that began five years ago with the masterplan finally comes to realisation. Our approach at the Norton has been to make art more accessible by dissolving boundaries – whether that is between the building and landscape or art and the viewer.”
Allies and Morrison, BDP, HOK and Foster+Partners have been shortlisted among a group of nine firms for the refurbishment project at the Houses of Parliament in Westminster, London. The commission is touted to be worth up to $31.5 million. The Palace of Westminster, where the U.K. House of Lords and Commons is situated, is currently falling apart, amassing hefty maintenance costs in tow. This year the annual maintenance bill totalled $73 million. Dating back to 1870, the palace is a UNESCO world heritage site as well as a Grade 1 listed Landmark building in the U.K. A plan to restore the building earlier in the year caused controversy when it was announced that it could take 40 years and cost over $10 billion to complete. There were even calls to relocate parliamentary affairs to Birmingham or Leeds, outside London, separating the political and cultural capitals, similar to Ankara in Turkey. Fire hazards, leaky roofs and outdated plumbing have slowly led to the building's decay, damaging the ornate interior design of Augustus Pugin. Pollution has also caused damage of the exterior masonry, and, to make things worse, there is asbestos littered throughout the structure. However, earlier in the year, a report earlier in the year commissioned by both the House of Lords essentially stated that renovation works would be carried out to ensure that the Palace of Westminster remains the home of parliamentary procedures. At the time this was a contentious move with projected prices soaring within an austerity government, especially when considering MPs were awarded a 10 percent pay rise only weeks prior. The report stipulates that modernization is essential. More elevators and air conditioning is needed, along with wheelchair access throughout the building. With regard to the nine firms shortlisted (full list below), a decision is expected to be made by mid-2016 with construction set to start by 2021. The Shortlist: Architectural and Building Design Services
- Allies and Morrison
- Building Design Partnership Limited
- Foster & Partners Limited
- HOK UK Limited
- Aecom Limited & Mace Limited (Joint Venture)
- Capita Property Infrastructure Limited & Gleeds Cost Management Limited (Joint Venture)
- CH2M Hill UK Limited
- EC Harris (ARCADIS LLP)
- Turner & Townsend
Swiss watchmaker Rolex is looking out for new talent. The Rolex Mentor and Protégé Arts Initiative pairs accomplished artists and designers across all disciplines with emerging practitioners for a yearlong, one-on-one mentorship. At an awards ceremony on Sunday in Mexico City, David Chipperfield was chosen as the mentor in architecture. The partnership with the as-yet-unchosen protege will begin mid-2016. A noted architect of cultural and civic institutions, Chipperfield designed Mexico City's Museo Júmex (completed 2013); the Nobel Center in Stockholm (set to open in 2018); the Royal Academy of Arts master plan (expected completion: 2018); and the Turner Contemporary Gallery in Margate, England. In September of this year, David Chipperfield Architects beat out KPF and Foster + Partners to convert the Eero Saarinen–designed United States Embassy in London into a hotel. For the Rolex initiative, panels of arts professionals all over the world convene to nominate new talent in their respective fields. Mentors choose from a list of three to four finalists. Winners will be announced in June of next year. The pair is asked to spend at least six weeks together, collaborating on projects. Past mentors in architecture include Peter Zumthor (2014–2015), Kazuyo Sejima (2012–2013), and Alvaro Siza (2002–2003). In addition to Chipperfield, this year the committee selected Mia Couto (literature), Alfonso Cuarón (film), Philip Glass (music), Joan Jonas (visual arts), Robert Lepage (theatre) and Ohad Naharin (dance).
Foster + Partners has revealed initial images of a proposed Apple store at the intersection of Michigan Avenue and the Chicago River. The new store will replace their existing Michigan Avenue flagship store six blocks to the north. Echoing the company’s 5th Avenue store in New York, the design calls for a large, mostly glass structure with an expanded retail space below ground. Unlike the 5th Avenue store, and more akin to Foster’s recent Aix-en-Provence, France Apple iteration, the new Chicago Store will feature a light solid roof suspended on two large columns. Located on, and below, Pioneer Square, the store will have one of the most visible locations in the city, surrounded by some of Chicago’s most iconic architectural landmarks. The square itself is flanked by the Tribune Tower to the north, the modernist Bruce Graham designed 401 North Michigan Avenue (formerly the Equitable Building) to the East, and the Wrigley Building immediately across Michigan Avenue. The view up the river to the west will also include the Trump Tower, Marina City, and Mies’ AMA Plaza (formerly IBM Plaza), making this location one of the most recognized tourist, not to mention retail, locations in the city. The 20,000-square-foot retail space will occupy an unused cafeteria at Lower Michigan Avenue. The store will also engage with the infrequently used Riverwalk along the north bank of the river. New balustrades and stairs will be added, as well as the 34-foot-tall glass wall of the store itself. According to representatives from Foster + Partners at a recent courtesy presentation to the City Planning Commission, there will be no retail at the surface Pioneer Square level, with the 14-foot-above-grade glass structure acting as a grand entrance. The city has already approved the project, and construction is planned to begin next year.
Richard Rogers beats Norman Foster and UNStudio for Taoyuan International Airport terminal commission
Rogers Stirk Harbour + Partners have fought off fellow British architecture practice Foster + Partners and Amsterdam-based UNStudio to design the Terminal 3 building at Taoyuan International, Taiwan's largest airport. The firm won by a unanimous decision, AN has learned. In 2014, the airport was the world's 11th busiest passenger airport. The 158-acre airport terminus will see 45 million passengers pass through every year and will be situated adjacent to the China Airlines Headquarters and share some services with neighboring Terminal 2. The building is due to be complete by 2020. Rogers' firm worked with local practice Fei & Cheng Associates and Arup engineers. UNStudio, run by Ben van Berkel, also took the approach of appointing a local firm for the project in working with Bio-Architecture Formosana and April Yang Design Studio. Foster, on the other hand, chose to work individually. Taoyuan International Airport is based 24 miles outside Taipei, the capital of Taiwan and was once known as Chiang Kai-shek International. The winner was selected from a jury comprised Michael Speaks, dean of Syracuse University's school of architecture; Marcos Cruz, director of the Bartlett School of Architecture; and Kwang-Yu King, curator of the 2012 Hong Kong & Shenzhen Biennale.
On October 7, the New York Landmarks Preservation Foundation hosted its annual “Lunch at a Landmark” at the top of the Hearst Tower. Guests, New York’s elite architectural, design, and preservation cognoscenti, were offered a rare insight into the building—one from Norman Foster himself. To best explain his old-meets-new approach to the Hearst Tower, Foster revisited five of his past projects: the Reichstag in Berlin; the Millennium Bridge over the Thames; the Millau Viaduct in Millau, France; La Voile in St. Jean Cap Ferrat, France; and the Château Margaux in Bordeaux. The original Art Deco Hearst building by Joseph Urban was always intended to have a tower rising from its base. However, due to complications like the Great Depression, it was nearly 80 years before that tower came to fruition. To build the 46-story-tall skyscraper, Foster scooped out the building’s interior to introduce light and create a kind of “town-square.” This move was initially contested on the grounds of “facadism” but Foster persisted. “When someone says I can’t do something, that is when I get really excited about it,” he said. Now, the dynamic lobby with its dramatic entrance that takes pedestrians over an indoor waterfall to enter is one of the building’s most iconic design moments. Of course, Foster could make an educated guess that this would be the case. He took a similar approach to Berlin’s Reichstag in 1999. In that instance, the hollowed-out core was a historically sensitive move that visually helped to give the building back to the people. Even as he preserved the Russian graffiti and other emblems of the building’s past, the clear dome in the tower physically placed the people above the government as a bright symbol of democracy. Although bridges are markedly different from buildings, Foster also connected past and present with the Millennium Bridge and the Millau Viaduct, quite literally. Taking cues from St. Paul’s Cathedral and the Tate Modern in London, the Millennium Bridge’s thin, steel profile frames picturesque views of the city for the approximately 4 million people per year who walk across it. While France’s Millau Viaduct didn’t have to contend with any historic buildings, it presented a similar challenge in that its location, the Massif Central Region, is a National Heritage Site. Using tall piers to support the slender bridge, Foster and Michel Virlogeux (the lead engineer at Eiffage, the same company responsible for the Eiffel Tower), created a structure that only lightly touches the land and enhances the landscape for everyone driving across it. These three projects illustrate Foster’s concept of a design “marriage,” a relationship that he likens to a family, where there is a new generation that may have a distinct style, but it has very strong ties to the older generation. In two other projects he discussed, La Voile in St. Jean Cap Ferrat, France, and the Château Margaux in Bordeaux, Foster opted for a different approach. For La Voile, Foster ran up against a well-intentioned law in the South of France that protected the coastline. Unfortunately, this meant that a nondescript house on his client’s property was also protected. But, by hollowing out an old stone tower from the center, Foster created a new “skin,” a design that totally swallows the original home—perfectly preserving it without compromising the new design. In fact, the fit was so perfect, that the local police raided the house once to make sure the original one was accessible underneath (it was). Along similar lines, but less dramatically, Foster integrated a new structure for making white wine at the Château Margaux winery with an 1815 building by Louis Combes. Pulling inspiration from trees and farm structures, the resulting building appears to grow both organically from the site and from its 19th Century counterpart. These five projects offer a survey of Foster’s innovative and varying approaches to melding old and new architecture in ways both familiar and unique to each site. It will be exciting to see how these approaches unfold as he turns to more radical projects such as the drone port in Rwanda and beyond.
Who needs roads when you can fly? Norman Foster's latest project aims to support cargo drone routes that could deliver "urgent and precious supplies to remote areas on a massive scale." The scheme has significant potential in some of the barren heartland areas of Africa which are severely lacking in infrastructure, something that has proven a hindrance to the health and socio-economic well being of the region. Utilizing drones in such a way could change all that by connecting stranded communities and bringing valuable resources which are desperately needed. Unlike cars or trains, drones can easily (and cheaply) bypass the need to traverse across mountains, rivers, and lakes. Medical supplies are the main priority for Foster. He has teamed up with Afrotech, École polytechnique fédérale de Lausanne (EPFL); and the Norman Foster Foundation. Drones here have the potential to disperse a variety of life-saving packages within a range of over 60 miles. This would work by using two drone networks called the Redline and the Blueline. The Redline would carry smaller packages and would primarily be for emergency medical supplies. The Blueline would be more commercial and would be able to carry "larger payloads such as spare parts, electronics, and e-commerce." A drone port would be a new typology for Foster + Partners, adding to its growing list of aviation-based buildings that includes various airports and "lunar building studies conducted in association with the European Space Agency." The firm aims for the project's design to be very simplistic and able to be assembled by locals. The port could also be a manufacturing site for drones which would potentially give locals greater employment opportunities. To give some scale of the issue Foster wishes to address, currently "just a third of Africans live within two kilometers of an all-season road." With this in mind, Africa's population is set to double by 2050 and so a solution such as this will be necessary to cater for the growing demand of Africa's people. “Africa is a continent where the gap between the population and infrastructural growth is increasing exponentially," Foster said in a statement. "The dearth of terrestrial infrastructure has a direct impact on the ability to deliver life-giving supplies, indeed where something as basic as blood is not always available for timely treatment." With a pilot project set to be built by 2020 in Rwanda, "a country whose physical and social geography poses multiple challenges," the drone service hopes to send supplies to "44% of Rwanda." "Rwanda’s challenging geographical and social landscape makes it an ideal test-bed for the Droneport project," Foster said in a statement. "This project can have massive impact through the century and save lives immediately.”
New York has one, Chicago has one, and now the Chronicle’s John King alerts us that San Francisco might see a Trump-brand tower in its future. No one is taking bets on the conservative presidential candidate’s name emblazoned on a highrise located in one the most progressive cities on the planet, but King is stirring the pot to call attention to a land auction hosted by Transbay Joint Powers Authority on September 2. On the docket: a parcel of land on the 500 block of Howard Street, where zoning allows for an 800-foot tower. Five development teams will bid against each other. According to King, “[I]dentities are being kept secret until the live auction to, in the words of bureaucrats, 'preserve the integrity of the competition.'” Will Trump be one? The Chron’s critic is wagering a guess, suggesting that with minimum bid at $160 million, the live auction could set off a bidding war that would help pay for the Transbay Transit Center. Designed by Pelli Clarke Pelli, the center expected to serve eleven different transportation systems and feature a rooftop park. The tower on the offer would join others in San Francisco's Transbay district by Studio Gang, OMA, SOM, and Foster and Partners. Gang’s undulating 40-story tower recently came under fire for its soaring height, which community activists protested would cast a shadow over the public Rincon Park on the Embarcadero waterfront. King’s argument, however, is not that Trump will soon be mixing it up in the town of Milk and Moscone (or the new SF: Twitter and Uber) but that design is pushed off the table for the sake of raising cash. In 2007, the city held a design competition for the transit center and neighboring tower. This auction comes with no design strings attached. “Standards are slipping,” he wrote and continued: “If the check clears, good enough. Let the city’s Planning Department sort through messy questions about how the tower looks or whether the developer will try to push for extra space.”
Fernando Romero has a plan to green Mexico City with the Cultural Corridor Chapultepec, a park-like linear thoroughfare
Avenida Chapultepec in Mexico City began as a road for Aztec emperors. Over the years the broad boulevard, which leads from the old Colonia Centro to Chapultepec Park, hosted an aqueduct and the city’s first electric tram. But the 20th century wasn’t particularly kind to the thoroughfare. Pounded with traffic and gray with diesel soot, it no longer represents the aspirations of a contemporary Mexico City. But that might change. FR-EE, the Mexico City–based architecture practice headed by Fernando Romero, recently proposed a multimodal greenway to replace a section of Avenida Chapultepec. FR-EE’s proposal, the Cultural Corridor Chapultepec (CCC), remakes a 0.8-mile stretch from Chapultepec Park down to the free-for-all circular junction at Glorieta de los Insurgentes. According to the office, the two-level boulevard will have lanes specifically dedicated to bikes, skaters, wheelchairs, strollers, cars, and buses, with a central promenade for pedestrians. "This project will organize the surroundings, will double the green areas, will enhance connectivity and will celebrate the cultural diversity of the city," Romero explained in a press release. Renderings show a lush upper level promenade planted with shade trees and High Line–like foliage. Cafes and other retail spaces dot the new landscape. The proposal leans toward climate-sensitive features. The hope is that plantings will mitigate the intense “heat island” effect of a long, open surface in the middle of the city. Rainwater will be collected and recycled for irrigation and there are plans to provide solar cells for electricity. A proposal at this scale is somewhat of a departure for Romero, who works with expressive architectural form more than urban fabric. The architect, best known for his sleek and gestural Museo Soumaya, is currently working with Foster + Partners on the Mexico City International Airport. However, the design reflects the global influence of placemaking combined with infrastructural urbanism—a sustainable tonic that could benefit a super dense metropolis like Mexico City. https://vimeo.com/136617965
Apple is planning to build a viewing platform and visitors center so you can gaze upon its Foster-designed headquarters
Apple's upcoming doughnut-shaped flying saucer of a headquarters is steadily taking shape in Cupertino, California. The Norman Foster–designed, $5 billion complex obviously strays from the typical office park setup of clusters of boxy, generic buildings, but despite its starchitect design, it has attracted plenty of criticism for how little it engages with the community and the non-Apple employees who walk among us. But apparently that's not the whole story. The Silicon Business Journal went digging through city documents and uncovered plans for a visitor's center at the headquarters which includes a viewing platform where civilians can look out on the campus and imagine what's happening inside the curved walls. (Hopefully it includes boosting iPhone battery life.) "The plans show a super-modern glass-walled structure topped by a carbon-fiber roof with extended eaves, punctuated by large skylights," reported the site. "On the ground floor: A 2,386-square-foot cafe and 10,114-square-foot store 'which allows visitors to view and purchase the newest Apple products.' Stairs and elevators take visitors to the roof level, about 23 feet up." The campus is expected to be completed in late 2016. https://www.youtube.com/watch?v=eB6_XkUFpAc
Architects and designers from 47 countries are competing to win prizes in the 2015 World Architecture Festival Awards following the announcement of the shortlist today. Nearly 400 designs in 31 categories have been chosen ranging from small family homes to huge commercial developments, landscape projects and interiors. Major world architects taking part include Foster Partners, Zaha Hadid Architects, Rafael Vinoly Architects and the designer of the controversial Garden Bridge in London, Heatherwick Studio. As usual there are also small practices unknown outside their own countries, who will be presenting their shortlisted work, along with big names, at the annual World Architecture Festival (WAF) in Singapore this November. This is the eight year of the WAF awards, which cover completed buildings, future projects, landscape designs, and interior architecture and design. WAF programme director Paul Finch commented: ‘ We are delighted that our entry numbers were up this year, and the quality of submissions is as high as ever. ‘What is fascinating about these awards is the opportunity they provide to compare how different architects and designers tackle the same sort of problems in completely different parts of the world.’ For more information www.worldarchitecturefestival.com