The Texas Rangers will move to an HKS-designed new stadium in Arlington by 2020. The new venue, Globe Life Field, will hold 41,000 seats and a 1.7 million-square-feet ballpark. It will be home to games ranging from high school and college sporting events to professional, international games. The $1.1-billion baseball park broke ground in September 2017 and is now under construction. When completed, Globe Life Field will join the Texas Live! entertainment district as a new destination for entertainment tours. Taking into consideration the hot climate of the state, HKS introduced climate-controlling infrastructure, including the massive retractable roof that would open and close depending on the weather. The design aims to improve the comfort of watching games, with wider seats and varied front-row seating design. Two concourse rings allow for easy circulation. Restrooms and concessions are receded from the seating bowl to avoid the obstruction of views. HKS designed the plaza-facing north wall with a mixture of 18 brick, Texas limestone, granite arches filled with curtain walls in between. People will be able to walk on the corridor underneath the arches, which is the main concourse, and look down onto the plaza on one side and the game on the other. The design of a large plaza and multi-level landscape outside the stadium was inspired by Texas farmhouse porches. The project also borrowed elements from other ballparks, paying tribute to the neighboring, old Globe Life Park by using arches. It also referenced other local arch-sporting landmarks, such as the historic Mission San José y San Miguel de Aguayo in San Antonio and the Kahn-designed Kimbell Art Museum in Fort Worth.
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Bjarke Ingels is slated to join elder architectural statesmen Norman Foster and Frank Gehry at the Battersea Power Station in London. The multi-billion dollar, mixed-use redevelopment was originally master planned by, yes, another starchitect, Rafael Viñoly. Ingels' firm, BIG, joins the bunch after winning a competition to design a public space for the project called Malaysia Square. Why is it called Malaysia Square? Because, lest the Brits forget, the project is backed by a Malaysian development consortium. BIG's plan for Malaysia Square goes beyond the name; it takes its form and design from the caves of the country's Gunung Mulu National Park. The Battersea developers describe the space as a “two-level urban canyon.” To that end, Malaysia Square is clad in limestone, granite, marble, sandstone, gravel, and has dolomite striation. The square's natural materials are sculpted into a dramatic design, but don't necessarily make for the most comfortable place to stretch out. Before unveiling Malaysia Square, London Mayor Boris Johnson addressed criticism that the Battersea Power Station development has too few affordable units and will just be another investment opportunity for wealthy foreigners. (15 percent of the plan is currently "affordable.) “I think 600 affordable homes are better than no affordable homes," Johnson told the Guardian. "If you didn’t do a deal of this kind you couldn’t get either the transport or the affordable homes so that’s the reality." The mayor also said that the development comes with two new Tube stations and the first extension of the system in a quarter century [h/t Dezeen]
The glass, stone, and metal exterior of the Hatfield-Dowlin Complex evokes the strength and agility of a college athlete.The superhero and the Samurai. That’s where Zimmer Gunsul Frasca Architects (ZGF) began their design of the Hatfield-Dowlin Complex at the University of Oregon. The football player, the architects imagined, is like Batman: stealthy and strong, he came to his powers not by supernatural accident, but through relentless training. At the same time, the athlete is a highly skilled warrior, the modern-day equivalent of Japanese military nobility. The facade of the new football training facility materializes these ideas in glass, stone, and metal. Dominated by horizontal expanses of tinted glass, it is powerful but not foreboding. ZGF offers the analogy to a suit of armor: the building’s skin balances protection and connection, solidity and agility. The most direct expression of the armor metaphor is on the Hatfield-Dowlin Complex’s west exterior. In Eugene, the real solar challenge comes not from the south, but from the west, where the sun hovers near the horizon for long periods all winter long. To minimize glare, the designers placed a floating sunscreen across the western face of the building. Using elevation studies and interior models, they determined the optimal placement of a series of tinted glass panels held in an aluminum frame developed by Benson Industries. The result is seemingly random arrangement of overlapping rectangles, which ZGF’s Bob Snyder likened to scales on a Samurai’s costume. On the other three sides of the building, ZGF installed a curtain wall of fritted, triple-pane insulated glass units supplied by SYP. The frit pattern was inspired by the nearby John E. Jacqua Academic Center for Student Athletes, which ZGF also designed. The Jacqua’s facade comprises two layers of glass, five feet apart with a stainless steel wire screen in between. At the Hatfield-Dowlin Complex, the designers achieved a similar texture on a single layer of glass. “We saw that as a microcosm of the five-foot wall [at Jacqua],” said Snyder. The frit pattern was developed to be visible from both outside and inside the building, and to suggest movement as one passes along the facade. The final components of the Hatfield-Dowlin Complex exterior are stone and metal cladding. ZGF chose granite and basalt from Western Tile & Marble, which was treated with water jets for a striated texture. The designers used stone primarily on the first three floors of the building. “We established that as the stone zone, we wanted the weight of that material, the high durability of that material down low where folks would come into contact [with it],” said Snyder. Above, the stone transitions to aluminum panels for a lighter feel. “We worked with [Streimer Sheet Metal Works] to get the tightest radius we could get on the ribs of the metal panel,” explained Snyder. “We really struggled with that material [to make it] as fine as the stone, so it didn’t look like you were wearing tennis shoes with your tuxedo.” Plate-steel fins at the mouth of the parking garage and near the entrance sidewalk suggest the hard back of a dinosaur—yet another reference to armor. For Snyder, the combination of materials on the building’s facade achieve a balance between groundedness and ambition. Like the athletes inside it, the Hatfield-Dowlin Complex remains tied to the earth even as it appears to float above it. “The idea is that to be really good at football, you need to be right on the edge,” said Snyder.
When a bucolic cemetery in Minneapolis began to near capacity, its owners worried a large expansion might dampen the landscape’s pastoral charm. Despite its comparatively large footprint, the 24,500-square-foot Garden Mausoleum in Minneapolis’ Lakewood Cemetery is in harmony with the existing mausoleum and chapel that it sits between, as if in meditation. The 141-year-old non-sectarian cemetery occupies 250 acres in the city’s Uptown neighborhood. Designed by Joan Soranno and John Cook, both with HGA Architects and Engineers, the Garden Mausoleum peeks out of a south-facing hill along the northern edge of the site’s “sunken garden.” Mahogany and charcoal granite walls complement white marble and onyx floors that alternate between honey yellow, jade green, and coral pink. The handsomely understated spaces are prime for spiritual exploration and self-reflection. Elegant and quietly powerful, the mausoleum is an authentic union of materials and design.