Every year the Architectural League of New York recognizes eight dynamic young firms as Emerging Voices that have the potential to become leaders in the field. Historic winners like Morphosis (1983) and Toshiko Mori (1992) have become today's lions, and practices like Johnston Marklee (2007) and Tatiana Bilbao (2010) have jumped to new heights after recent wins. This year's crop was selected in a two-stage portfolio competition where a jury of architects selected the winners. The deciding jury included several previous winners like Dominic Leong (2017), Fernanda Canales (2018), and Marlon Blackwell (1998), giving the process a familial feel. Laureates for 2019 come from across North America and almost all are partnerships or collaboratives—capital letters feature prominently, too. Davies Toews will lecture at the Scholastic Auditorium at 130 Mercer Street, New York, New York, at 7:00 p.m. on March 7, as part of the Emerging Voices lecture series. The storefront office of Davies Toews Architecture is tucked behind a corner of 13th Street in Manhattan’s East Village, and like so many of the firm’s projects is defined by constraints. Common elements like outdoor tile and plywood create a homey atmosphere, and models and materials are tightly arranged throughout the space, inviting passersby to peer in on the studio’s creative process. Partners Trattie Davies and Jonathan Toews are no strangers to working around tight spatial and financial limitations. Whether it’s a linear park that rises between a descending set of switchback staircases in Hudson, New York; a perspective-defying, split-level park and art gallery in Memphis, Tennessee; or a three-story townhouse in Brooklyn, their projects are united by the common thread of extreme site-specificity. “Our strategy has been: Do first, analyze second,” said Davies. “It’s really important for us to build work, to learn about how things get done—what works and what doesn’t work, so we could get good at it. Most of what we do is built. We do very few competitions.” Fittingly, materiality plays a large role in these completed projects. For the 72,000-square-foot University of Chicago Charter School: Woodlawn Campus, a school for grades 6 through 12 with a 100 percent college acceptance rate, the studio had to balance a modest budget with lofty design ambitions. Using only locally produced Chicago brick, the studio designed a variegated, kinetic facade by patterning the building with darker, extruded brick. The school’s ﬂared parapets and step-gap massing reference missing buildings in the surrounding neighborhood, breaks in a uniform street wall. “We realized that, project after project, the design came from the constraint,” said Toews. “Lately we’ve been thinking a lot about how to design with Sheetrock.” Even Sheetrock, a ubiquitous and uniform material, can provide inspiration; Davies compared the alternating bands of color in stacked, wrapped Sheetrock to a tapestry. “Every project gets modeled,” said Toews. “There’s the idea of the model sitting there; you can’t avoid it. We just try to keep making stuff around the project until it gets better and better.”
Posts tagged with "Herzog & de Meuron":
Herzog & de Meuron has finalized the design of the 300,000-square-foot Vancouver Art Gallery and has released new renderings of the top-heavy timber building. The $350 million arts complex in Vancouver, Canada, also has a new name. After a $40 million private donation from the Chan family on January 23, the Vancouver Art Gallery (the organization responsible for the building’s programming) announced that the building would be renamed the Chan Centre for the Visual Arts. The gift is the largest single private donation in the history of British Columbia and has brought the amount raised for the building to $85 million. That marks an important figure as the provincial government has pledged that it would donate $50 million if the Vancouver Art Gallery were able to raise $100 million in private funds. The newly-revealed design for the Chan Centre presents an airy update to the scheme that was initially presented in 2015. Herzog & de Meuron has kept the stacked, seven-story massing, but replaced the opaque timber facade with fluted glass screens that are supposed to resemble stacked logs. The building rises from a narrow footprint to cut down on its impact on the street and create a covered open-air courtyard at ground level. The arts center expands as it rises, creating covered areas protected from the summer sun and winter rain and snow. It appears that Herzog & de Meuron has leaned more heavily into timber than in the original scheme, using wood for a majority of the interior finishes, columns, and supportive elements. Once complete, the center will hold classrooms, 85,000 square feet of gallery spaces, a theater, reading rooms, shops, and restaurants. Even the building’s location is hub-like; it lies at the intersection of the Downtown Vancouver, East Vancouver, Chinatown, Yaletown, and Gastown neighborhoods. “The project for the new Vancouver Art Gallery has a civic dimension that can contribute to the life and identity of the city,” said senior Herzog & de Meuron partner Christine Binswanger, “in which many artists of international reputation live and work. The building now combines two materials, wood and glass, both inseparable from the history and making of the city. We developed a facade out of glass logs which is pure, soft, light, establishing a unique relation to covered wooden terraces all around the building.” Fundraising is ongoing, with the Vancouver Art Gallery looking to raise $300 million for the building’s construction and $50 million to establish an endowment. If all goes as planned, construction is expected to start either late this year or in early 2020, with an opening planned for some time in 2023. Perkins+Will Vancouver is the project’s executive architects.
Herzog & de Meuron have donated materials representing nine of the firm's built and unbuilt projects from 1994 and 2018 to the Museum of Modern Art. Presented through the firm’s charitable foundation, the Jacques Herzog and Pierre de Meuron Kabinett, the gift will include 23 physical objects, including models, architectural fragments, sketches, and digital assets. In a statement, MoMA said that the nine projects showcase the firm’s three-decades-long work challenging conventions of materiality, structure, and typology. Four projects, in particular, will demonstrate these things: Dominus Winery in Napa Valley, California; 1111 Lincoln Road in Miami Beach, Florida; 56 Leonard in New York; and the Elbphilharmonie in Hamburg, Germany. The donation will also highlight collaborations with famous artists. Work with Thomas Ruff on the Eberswalde Technical School Library in Germany, with Michael Craig-Martin on the Laban Dance Centre in London, and with Ai Weiwei on the National Stadium in Beijing will be spotlighted. MoMA’s permanent collection already includes four architectural projects done by the Swiss firm from 1988 to 1997 and one design object from 2002. Martino Stierli, the chief curator of architecture and design at MoMA, said in a statement that the new works will be a key feature of the museum’s newly expanded galleries, opening this spring.
Herzog & de Meuron has completed the first building in a massive new tech campus being developed outside Moscow. The Skolkovo Institute of Science and Technology (Skoltech) University East Wing Building is the hub of District 3 of the five-district Skolkovo community. Skolkovo is a new ground-up development meant to be a home for research and technology just outside the Russian capital. District 3 houses the area's university, Skoltech, which will live in the new East Wing Building and two forthcoming structures also designed by the star Swiss firm. The new 1,442,000-square-foot building takes the form of a massive partially-filled ring with a 919-foot diameter. The outer ring and two smaller inner rings house academic facilities, shared spaces, and an auditorium, while staggered bars stretch across the building to house workshops and laboratories. A large basement floor runs across the structure's footprint to accommodate support and technical facilities. A jigsaw roofline cuts across the bars and rings to unite the structure. One result of the building's distinctive parti is a collection of courtyards of various shapes and sizes. These outdoor areas are framed by the building's striated facade, which materially codes the ring and bar spaces. The rings are clad in vertical larch wood fins, while white aluminum fins skin the bars. The building is not the first ring-shaped structure for Skolkovo. In 2010 David Adjaye completed a building for the Moscow School of Management Skolkovo with a large circular podium topped by cantilevering bars. Foster + Partners more recently completed Apple's headquarters with another circular design for a tech campus.
Swiss firm Herzog & de Meuron has released revised renderings for its four-story addition to Berlin's Kulturforum (Culture Forum) complex. The firm's winning entry for the Museum of the 20th Century, first revealed in 2016, is intended to increase gallery space for the Mies van der Rohe–designed Neue Nationalgalerie, store artworks, and connect the different cultural institutions in the area. The design is developed in collaboration with the Neue Nationalgalerie, the Berlin State Museums, and the Prussian Cultural Heritage Foundation. The building nods to the nearby Matthew Church in both its materiality and form, with its pixelated brick patterning and a vernacular gabled roof profile. The design also references warehouses, barns, and train stations. News renderings show a building with distinct facades on each side and multiple entry points that open to different parts of the cultural complex and the city, with a central area for showcasing large-scale modernist art. The multiple-entry design also allows for events to take place in a screening theatre outside of regular museum hours. Overall, the museum demonstrates a decidedly urban ethos in fully embracing its surrounding context, from the architecture by van der Rohe and Hans Scharoun to much older structures. According to Jaques Herzog, "Our urban planning concept for the Kulturforum is a concept of density, not of emptiness. It organizes an interplay of buildings put into precise relation with each other, and it also initiates the interaction of the cultural institutions established in those buildings."
Architecture curator and former AN columnist Aric Chen has stepped down from his role as the lead curator for design and Architecture at M+ in Hong Kong’s West Kowloon Cultural District and has taken on the title of curator-at-large at the museum. In addition to M+, Chen will be focusing on other curatorial projects as well as teaching, including guest curating the 2018 Beazley Designs of the Year exhibition at London’s Design Museum, from his new base in Shanghai. M+, first proposed in 2007 but currently without a permanent home, is focused mainly on the visual culture of Asia, in a global context, throughout the 20th and 21st centuries. The museum’s collection includes a wide variety of pieces including paintings, architectural models, furniture, digital art, performance art, and more. Following an international design competition in 2013, Herzog & de Meuron were chosen to design M+’s permanent home in West Kowloon. The 700,000-square-foot waterfront museum will resemble a ceramic-and-glass-clad, upside down “T” once complete and will hold over 180,000 square feet of exhibition space, performance spaces, cafes, offices, three theaters, and a rooftop terrace. Construction has been fraught with delays, and there have been fears of cost overruns as the West Kowloon Cultural District Authority fired its main contractor earlier this month. While construction has been put on pause for six weeks as the authority searches for a replacement, the managing body has maintained that the museum will still open in 2020 as previously promised. Chen, who had served as M+’s lead curator since 2012, oversaw the formation of the museum’s design and architecture department and its acquisitions. He also led the establishment of the department’s programming and curatorial team. Chen also served as the first creative director for Beijing Design Week from 2010 to 2012. His online exhibition NEONSIGNS.HK, an interactive catalog of Hong Kong’s vibrant neon sign ecosystem, won Chen praise when it was released in 2013, and it won a Webby. Chen’s most recent book, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, is available now.
The Harvard Graduate School of Design (GSD) has announced that Swiss architects Herzog & de Meuron have been selected to design a “transformative” expansion of Gund Hall, the GSD’s main building on the Harvard campus. New York-based Beyer Blinder Belle (BBB) will serve as executive architect on the project. Gund Hall, designed by Australia architect and GSD alumnus John Andrews, opened in 1972. The building has a distinct presence, as the brutalist hall’s exposed concrete, dramatic slope, and multi-story overhangs set it apart from the other buildings on Harvard’s campus. The new expansion is expected to create an intersection for the administrative rooms, classrooms, studio space (called “the trays”), research library, and social gathering spaces currently within Gund Hall. In a statement, the GSD mentioned that the expansion will have a minimal footprint and won’t require reclaiming any of the campus’s greenspace. When the project is complete, it should completely reorganize the programmatic flow of Gund Hall and create a more space-efficient building. “The GSD’s groundbreaking collaborations with theoretical and applied disciplines, and other professional schools at Harvard, bring collective expertise to bear in addressing the most pressing social and environmental challenges of our time through design innovation,” said Mohsen Mostafavi, Dean and Alexander and Victoria Wiley Professor of Design, Harvard GSD, in a statement sent to AN. “Herzog & de Meuron and BBB have carefully studied and observed the School’s many qualities and characteristics, and they have a bold design vision for the GSD and its engagement with other disciplines and professional schools across Harvard, and for its impact on the world. We are excited to collaborate with both firms on the creation of an important and dynamic center for design innovation here at the GSD.” Both Herzog & de Meuron and BBB have extensive histories with Harvard. Jacques Herzog and Pierre de Meuron have been teaching and conducting research projects with the school since the 1980’s, and BBB has completed several projects on the campus over the last 14 years. Their most recent work includes renovations to the historically sensitive Winthrop and Adams Houses. No completion date or cost estimates have been released yet. AN will follow this story up once design details and renderings of the expansion are released.
Plans for the $1.3 billion gothic revamp of British soccer team Chelsea Football Club’s Stamford Bridge stadium in London have been shelved, according to a cryptic message posted on the club’s website citing “the current unfavourable investment climate.” First revealed in 2015, the Herzog & de Meuron-designed stadium would have replaced Chelsea’s current field along with the surrounding buildings, and put up a 60,000-seat replacement in its stead. Initially pegged as a $664 million project, costs rose as delays and lawsuits from homeowners and businesses who would be in the new stadium’s shadow mounted. The stadium’s defining feature (aside from the 20,000 new seats, all of which were promised unobstructed views) would have been the 264 brick buttresses ringing the field. The arches would form a covered loggia around the stadium’s central pitch, and supported a steel ring above the field, providing the structural supports for the additional seats, shops, a museum, and a restaurant. Both the brickwork as well as the black, wrought-iron detailing are less-than-subtle references to vernacular British architecture; Herzog & de Meuron described the vaulting design as a “cathedral of football.” The Guardian paints a more comprehensive picture of why the project was put on hold. Chelsea club owner Roman Abramovich, a Russian-Israeli businessman, has found himself caught in the crossfire of the worsening relationship between the United Kingdom and Russia. Abramovich has found himself unable to renew his investor visa, and as the delays mounted, the billionaire expressed frustration at the idea of investing in a country that was delaying his ability to do business. While Abramovich would still be allowed to stay in Britain, he technically wouldn’t be able to do any work there. AN will update this story as more information becomes available.
United Talent Agency (UTA) will be moving their Los Angeles art space from Boyle Heights to a former warehouse in Beverly Hills this summer with an architectural overhaul designed by their own client, renowned Chinese artist Ai Weiwei.UTA opened their first art space in 2016 after founding a fine arts division to represent high-profile artists in 2015. While getting some positive press from art world critics, the space, along with a number of other L.A. galleries, received flack and community pushback for contributing to gentrification in the Eastside. Perhaps it is then fitting that UTA Artist Space will be relocating to Beverly Hills, taking over a 4,000-square-foot former diamond-tooling facility. Ai’s yet-to-be-released design is inspired in part by the architectural similarities of the concrete Los Angeles warehouse to his own Beijing studio. This is hardly Ai’s first foray into architecture. The artist has collaborated with Herzog & de Meuron on more than one occasion, including on major commissions like the Beijing National Stadium (commonly referred to as the “bird’s nest”) and the firm’s 2012 Serpentine pavilion. Ai has also collaborated with other firms on architectural projects and, since 2003, has run his own architecture firm FAKE Design. While Ai himself will exhibit a series of new marble works at the new UTA Artist Space this October, the gallery will open in July with a color field-focused show entitled One Shot featuring the work of Morris Louis, Helen Frankenthaler, Kenneth Noland, Sam Gilliam, and Jules Olitski, among others.
Meet the incubators and accelerators producing the new guard of design and architecture start-ups. This is part of a series profiling incubators and accelerators from our April 2018 Technology issue. Trimble-owned Gehry Technologies (GT) launched a three-month design-and-technology-focused accelerator program called ZeroSixty that is geared toward helping a new generation of innovators revolutionize project delivery across the AEC industry. The accelerator program will help start-ups based out of its Marina del Rey, California, offices to “build and scale” their services by connecting new entrepreneurs with “people, networks, and technologies,” according to the company. The effort is aimed at turning back the increasingly common trend among mega-projects of being over budget and behind schedule. ZeroSixty comes three years after software developer Trimble purchased GT in an effort to integrate and disseminate innovations in technology-driven project delivery across its various platforms. GT was originally founded in 2002 by Frank Gehry and his team at Gehry Partners to adapt techniques from the aerospace and automotive industries and apply them to the firm’s most complex building projects. In the years since, the group has worked on a variety of challenging projects across the world for various high-profile architects, including the Beijing National Stadium with Herzog & de Meuron and the Louvre Abu Dhabi with the Ateliers Jean Nouvel. ZeroSixty was founded by German Aparicio and Lucas Reames, both GT veterans, earlier this year and is currently accepting applications for its first cohort of companies. “The idea is to help entrepreneurs scale their products and services by leveraging our past experiences, field expertise, and client base while continuously seeking to innovate,” Aparicio said. The GT team has always been at the forefront of this niche within the AEC industry, including back in the early 2000s when, working on the Walt Disney Concert Hall in Los Angeles, they were among the first to utilize virtual reality visualizations for on-site construction. Now, Trimble and ZeroSixty seek to build upon this legacy by focusing on new AEC-related applications for emerging technologies like machine learning, artificial intelligence, augmented reality, and data analytics. “These technologies offer the opportunity to provide greater insights using a data-driven approach to project delivery and increase the quality and efficiencies of our industry,” Aparicio explained. With ZeroSixty and its no-equity support for emerging practices, Trimble has its eyes firmly set on building the future. Aparicio added, “These technologies promise to create services on the web that can be used on demand to automate everyday tasks so designers, project managers, contractors, and facility operators can focus on the more interesting or important part of their everyday lives.”
Buildings have been reliable photography subjects since the medium’s invention, and a new exhibition at the Parrish Art Museum in Southampton, New York, tracks how architectural photography sells a narrative as much as the buildings themselves. Through careful selection by guest curator Therese Lichtenstein, Image Building: How Photography Transforms Architecture examines how architectural photography inherently creates subjective experiences. From now until June 17, 2018, patrons can view 57 images by 17 renowned and lesser-known photographers who shaped a language of architectural photography that’s survived well into the age of Instagram. Organized thematically intro three sections, Cityscapes, Domestic Spaces, and Public Places, Image Building places historical photographs alongside contemporary images to track an evolution in style, technique, and places themselves. Modernism has proven an especially rich vein for these comparisons. Image Building places Julius Shulman’s carefully staged Case Study House photos against images of quotidian features from cookie-cutter, low-income housing. Each series is trying to sell something, whether it be an idealized life of post-war leisure, or commentary on the alienation that mass-produced housing induces. This dichotomy is on display throughout the exhibition, and hammers home the heightened artificiality of architectural photography. Buildings are three-dimensional structures and flattening them hands the narrative over to the photographer. For instance, Hiroshi Sugimoto’s fragile, out-of-focus takes on famously photographed architectural landmarks are a commentary on their now-lessened status in the world, having been sidelined and (literally) overshadowed in the years since their construction. But this series serves another purpose, as it highlights how vital the technical aspects–light, depth of field, the use of color–are to each photograph's meaning. Take Iwan Baan’s delirious photos of Torre de David in Caracas, Venezuela. Devoid of people, but featuring the scattered items they’ve left behind, Baan captures the chaotic energy present in the half-finished Torre de David skyscraper, now overrun with squatters, from the perspective of its inhabitants. Looking at The City and the Storm, Baan’s aerial photo of a Manhattan plunged into darkness following Hurricane Sandy, Baan singles out what he calls the “electricity haves and have-nots,” as viewers are drawn to the centers of finance that serve as islands of light in a darkened city. The Parrish Art Museum, designed by Herzog & de Meuron and shaped like an extruded “M,” built from simple materials and completed in 2012, played an important part in the foundation of Image Building. As Lichtenstein told AN, the Parrish itself was partly the inspiration for the show. The way it was sited, the photographs that Baan took of the building, and the long, uninterrupted views down the museum’s “wings” all stoked questions of how photography proliferates the ideas behind the buildings themselves. As it becomes easier and easier to proliferate images of buildings, looking back to the history of the form may provide an important tool for the professional and amateur architectural photographer alike. On Saturday, April 14 2018 at 5:00 PM, the Parrish Museum will host a dialogue between The Architect's Newspaper's Editor in Chief William Menking and photographer Iwan Baan on the use of photography to instill buildings with feeling and meaning. More information on the talk can be found here.
Prada has thrown its 2018 fall menswear collection back to the 90’s, with a fashion show in Milan that put utilitarian black nylon front and center. Rem Koolhaas, Herzog & de Meuron, French designers Ronan & Erwan Bouroullec, and German industrial designer Konstantin Grcic were all invited to interpret the material through an industrial lens to create a unique item for the collection. Fashion designer Miuccia Prada’s rise to fame was built on black nylon in 1984; in weaving nylon, typically used for packaging at the time and not clothing, into the landmark luxury “Vela” bag, Prada transformed the luxury brand into a contemporary clothing company. The same waterproof “Pocone” nylon used in the original Vela bag was on full display yesterday at Prada’s preview of its Autumn Winter 2018 menswear collection in Milan. Instead of flash or color, the focus was on form and usage, and the menswear fashion week show was appropriately staged in an industrial warehouse with a Prada twist. The storage facility in Viale Ortles, Milan, was plastered with throwbacks to Prada’s past and lit with blues, reds and purples by AMO, the research and branding studio of OMA. This isn’t the first time AMO has worked with Prada, as they also designed Prada’s 2017 Spring/Summer venue. OMA founding principal Rem Koolhaas contributed a backwards backpack to the show, designing a black nylon pack meant to be worn on the front of the body. The boxy container is meant to be first and foremost accessible, as Koolhaas notes that the convenience of a backpack is negated by having to take it off to access. “The shape of the backpack has the convenience of flexibility, the location–the back–the huge inconvenience that it is fundamentally inaccessible to the wearer,” Koolhaas told Prada. In the same way the Vela bag advanced the backpack through material, Koolhaas’s pack was meant to be the next step forward in the bag’s shape. Jacques Herzog and Pierre de Meuron chose to focus on the clothing side, designing a shirt patterned with what looks like statements in English, but reveals itself to be gibberish upon closer examination. Calling language useless, Herzog & de Meuron reduced words to nothing more than ornamentation as a commentary on the way untrue information has saturated our daily lives. “It has lost its seductive power. There is nothing new, nothing critical, nothing true in language that cannot be turned into its opposite and claimed to be equally true. Language has become an empty vehicle of information,” reads Herzog & de Meuron’s statement to Prada. OMA and Koolhaas have had a longstanding partnership with Prada, collaborating on everything from a 120,000-square-foot arts complex in Milan, to the Prada “Epicenter” in New York. All of Prada’s 2018 Autumn/Winter menswear collection can be found here.