The onePULSE Foundation and Dovetail Design Strategists have revealed concept designs from the six shortlisted teams chosen to create the upcoming National Pulse Memorial and Museum in Orlando, Florida. Each architect-led team proposed a series of interventions (below) that connect the former PULSE nightclub site with the larger SoDo district and the Orlando Survivor’s Walk. In honor of the 49 "angels" who died on June 12, 2016, the designers were challenged to embody the foundation’s mantra within the architecture: "We will not let hate win." The public is allowed to comment on the designs here through Friday, October 10. Fly-throughs of the individual projects can be found here as well. Coldefy & Associés with RDAI French firm Coldefy & Associés has envisioned a striking three-pronged design for the onePULSE Foundation that includes a spiraling, open-air museum structure that towers over a renewed West Kaley Street. The memorial site below that is presented as both a lush garden planted with 59 trees and a piece of preserved architecture. Coldefy chose to integrate the existing nightclub into the new design, transforming it with cutouts that allow visitors to walk through the building on an intimate path. A reflecting pool encircling the club would feature a palette of 49 colors in its basin. The design team has prioritized accessibility, walkability, and biking in its vision for memorial and museum, as well as SoDo. As the neighborhood grows, Coldefy aims to integrate more promenades, bike paths, and room for a shuttle to connect Pulse visitors to the train station. Further collaborators: Xavier Veilhan, dUCKS scéno, Agence TER, and Professor Laila Farah Diller Scofidio + Renfro and Rene Gonzalez Architect with Raymond Jungles, Inc. DS+R’s scheme for the site centers around a contemplative sound garden with 268 reflective columns honoring the survivors. The original club structure will remain and be covered in a beaded shroud while a platform atop it would hold the sanctuary, a space featuring mementos and displaying the names and stories of the angels. Forty-nine rainbow-colored ceramic tail columns puncture the sanctuary and extend above a suspended canopy for passersby to see. Glass openings in the floor would provide views of the club’s dance floor below. At night, the lights dance. heneghan peng architects, Gustafson Porter + Bowman The quiet and stately concept design from the Dublin and Berlin-based heneghan peng features an angular museum that, according to the architects, resonates with the energy of the nightclub. Along West Kaley Street, its facade curves and tilts upward, 'hugging' visitors as they walk in. The memorial also symbolizes a kind of embrace; the original nightclub building is surrounded by seven sections that come together as a shared space. The names of the 49 lost would be embedded into a series of colorful, vertical bands on one elongated wall. Though silence is a major component of this design, so is sound. Within the museum would be recording studios, conversation spaces, and community areas. Heneghan peng proposed the PULSE Music Label, which would spread music that shows the strength of the LGBTQ+ community. Further collaborators: Wannemacher Jensen Architects, Bartenbach LichtLabor, Sven Anderson, and Pentagram MASS Design Group, Ralph Appelbaum Associates, and Sasaki MASS Design Group's monumental proposal frames the original structure of the nightclub in a sculptural embrace. With waterfalls cascading down the facade, visitors would be able to view the memorial from a contemplative seating area at the gathering space of the survivors. The memorial is accompanied by the Museum for Equality, aiming to position the tragic events at Pulse "in a global context of the fight for equality." Triangular motifs are a key feature of this museum's design, and colored glass window panels would give the building a sacred feeling, topped off with a "kaleidoscope atrium" that uses natural light to create a warm, reflective space. Further collaborators: Sanford Biggers, Richard Blanco, Little Diversified Architectural Consulting, and Porsha Olayiwola MVRDV and Grant Associates Inspired by the "midnight quality" of the nightclub's black exterior, MVRDV's monument design is a raised structure that seems to levitate over a landscape of small mounds and surrounded by 49 trees chosen by the families of the angels. The facade will remain black, with gold accents to highlight fractures along the surface. The memorial is a truly interactive site, as visitors would be able to pass under the floating structure and atmospheric lighting would allow visitors to connect with the space in deeper ways. Meanwhile, the design of the Pulse Museum is organized into four sections, which twist to form the word "love," visible from the street level because of its sloped construction. The extensive green roof of the building would be fully accessible and is intended as a communal space. Further collaborators: GSM Project, and Studio Drift Studio Libeskind with Claude Cormier + Associés Studio Libeskind has dubbed its design 'Perpetual Light' and it would feature a heart-shaped memorial surrounded by 366 colorful frames—one for each day of the year 2016. The memorial extends out and would connect to a Survivors Walk, a testament to the bravery and heroism that occurred at the site. The proposed museum is a towering structure that "connects the terrestrial to the celestial," shooting upward and ending in a display of 49 beams of rainbow light activated by human touch. An observation deck would give the opportunity for visitors to view the entire district from above and think about the legacy of Pulse in Orlando and beyond. Further collaborators: Thinc and Jenny Holzer
Posts tagged with "Heneghan Peng Architects":
Airbnb has officially opened its new headquarters in Dublin, located on Hanover Quay, in the "Silicon Docks" area of Ireland’s capital city. The 40,000-square-foot project, dubbed The Warehouse, will house more than 400 employees and emerges out of another collaboration with Dublin-based heneghan peng architects, the firm behind the company’s previous Dublin office (which will remain in operation). The new Dublin HQ’s three stories are designed around an atrium and amphitheater in the center of the building and features a grand central staircase, named the ‘Agora.’ The staircase can serve as a large conference or community event space for up to 400 people, or a lounge-style working environment for employees throughout the normal workday. The new Airbnb international headquarters inherits a rich history, having been home to Dublin Trawling Ice & Cold Storage since 1865, and the Raleigh Bicycle Company since 1954. When the bike manufacturer left in 1980, the warehouse was but a shell for a completely open floor plan, falling into disrepair after enduring not one, but two fires. Airbnb is said to have had direct architectural input in renovating the empty space, optimizing chances for “unplanned encounters that open avenues of creative exploration,” that “only the physical work space can activate,” according to Aaron Harvey, head of the environments team at Airbnb. “Our ambition has often been moderated by constraints of an existing structure that can’t be altered,” Harvey said. “It was with the Dublin Warehouse that we finally had the opportunity to provoke the level of interaction and crosstalk that we’ve always imagined.” Each of the 29 primary working spaces, or ‘neighborhoods,’ come with its own large communal table instead of individual desks, shared storage space for employees, one or two sit stands, and a designated lounge spot, while secondary work spaces exist in kitchen areas or meeting spaces scattered throughout the warehouse, such as on the landings between floors. With more workstations than staff, the architects have designed enough space for everyone to sit where they like, according to News Four. Of course, in keeping with tradition, The Warehouse offers meeting rooms designed as replicas of the hottest listings on the Airbnb platform, drawing inspiration from destinations such as Mykonos, Lisbon, Puerto Vallarta, Jalisco in Mexico, and Montpellier in France. The Warehouse is also Airbnb’s first urban campus model, which is expected to become more prevalent in the company’s office spaces moving forward.
Situated on the West Bank north of Jerusalem, The Palestine Museum has officially opened, only one key feature is missing: the exhibits. Using white Bethlehem limestone to form angular volumes that rise up from the rugged site, the museum is designed by Dublin-based firm Heneghan Peng. Sitting on land gifted from the local Birzeit University, the $60 million project has had, much like its surroundings, endured a rocky journey. Initially conceived in 1997, political turbulence has stopped and stalled the museum's progress, however, some two decades on, it is finally here. The only thing left to do now is to fill it. Interestingly, one museum that did open in that timeframe (in 1999) was the Jewish Museum by Daniel Libeskind in Berlin. This, like Heneghan Peng's, opened without any exhibits and in fact remained that way for some two years. Attracting much attention, many critics even called for the museum to remain empty such was the power of its spatial qualities. The same however, has not yet been said of The Palestine Museum, though its emptiness could potentially be seen as some form of commentary on its locality. Nonetheless, exhibits are on the way and its inaugural exhibition Never Part is set to showcase artefacts of Palestinian refugees. Even this, though, has been delayed after a dispute between former director Jack Persekian and the museum’s board. The building itself, despite residing in a rocky location, actually sits on terracing intended to reflect the stepped nature of the agricultural landscape, something the museum's chair, Omar al-Qattan has described as "symbolically critical." al-Qattan also commented that Palestinians were “so in need of positive energy” that the museum—even in opening exhibition-less—was worth it. Covering only 37,673 square feet, the building will hold a climate-controlled gallery space, classrooms, offices, and an amphitheater, along with the usual amenities including a cafeteria with outdoor seating and a gift shop. Further construction is also penned to be finished within the next ten years, adding 107,639 square feet which will accommodate more galleries. For the moment, the museum's primary exhibition space, as Oliver Wainwright of The Guardian reports, remains a windowless hall punctuated only by wheelbarrows, cement mixers, and prints of architectural drawings smeared in Arabic, answers to “What is Palestine?” “Oxygen,” says one. “A heavy load,” says another. “Goats scattered on a hillside,” reads a third. Come June 1, whether it is filled or not, the museum will be opened to the public and free of charge - so there can be no complaints of getting your money's worth.
Everyone's favorite canoe museum, the Canadian Canoe Museum in Ontario, Canada, is expanding. The museum has short-listed six firms to design its new facility at the Peterborough Lift Lock National Historic Site. The canoesuem (our word, not theirs) paddled its way through 90 submissions before settling on the finalists which come from Canada, the United States, and Ireland. The Peterborough Examiner reported that Richard Tucker, the canoesuem's executive director, wants the firms to team up with local architects who can make site visits and meet with local officials. Drawings are due on August 11, and a winner will be announced in the fall. The finalists are Kohn Pedersen Fox from New York City; Heneghan Peng Architects from Dublin; 5468796 Architecture from Winnipeg; as well as three teams—Bing Thom Architects from Vancouver and Lett Architects from Peterborough; Provencher_Roy from Montreal and NORR from Toronto; and Patkau Architects from Vancouver and Brook McIlroy from Toronto.