It's impossible to look at renderings of Herzog & de Meuron’s 56 Leonard and not immediately think of Jenga, the game guaranteed to shame one unlucky partygoer for pulling the wrong piece and ruining everyone's fun. Good times! Anyway, back to 56 Leonard in New York City—the 60-story, glassy version of that nerve-wracking game. The project was first unveiled back in September 2008, at almost the exact moment the global economy started to nosedive. So, needless to say, 56 Leonard got off to a slow start. But now the tower is rising quickly and slated to open next year. Construction watcher Field Condition recently photographed the building which has passed its 40th floor and is starting to get its glassy exterior. On the building's first few floors, erratic, cantilevering balconies create that aforementioned Jenga-like effect. But on higher floors, the Jenga-ness of the building quickly fades as the balconies fall into a more conventional pattern, appearing less like bricks from the game and more like, well, balconies. This should change, though, as the building continues to rise as its most dramatic cantilevering theatrics are reserved for its tapering top.
Posts tagged with "Herzog & de Meuron":
Ian Schrager and Herzog & de Meuron are at it again. Just weeks after renderings appeared for the team’s Lower East Side boutique hotel, images of the prolific hotelier and Swiss architects’ condo project in the West Village have surfaced. Real estate blog NY YIMBY received renderings for 357 West Street, which show a curving, 12-story building that will become the latest addition to a corridor crowded with starchitecture. The structure resembles much of Herzog & de Meuron’s recent work in the city, as it is clad in concrete and glass. These materials are being used at 215 Chrystie and 56 Leonard—the firm’s Tribeca tower, which looks like a dangerous game of Jenga. A tipster told YIMBY that the 357 West Street contains 88 units and is expected to open in 2017. Herzog & de Meuron’s building will be in good starchitect company over on Manhattan’s western waterfront, which includes—or will soon include—works by Morris Adjmi, Helmut Jahn, Jean Nouvel, Shigeru Ban, Richard Meier, Renzo Piano, and Frank Gehry.
The French “GIF artist”—welcome to the 21st century, everybody—Axel de Stampa has officially made time-lapse videos look like child’s play. In his new project, Animated Architecture, de Stampa spins, shifts, tops, and deconstructs some of the most visually distinctive contemporary buildings—all in endlessly entertaining GIF format. "In Architecture Animée, Axel de Stampa uses GIF format to develop a different approach. While the visitor doesn’t move, the building offers different perceptions, comes alive and reveals additional evidence," explained the artist in a statement. [h/t ArchDaily]
[beforeafter] [/beforeafter] The United States will celebrate one of its most prized national treasures at the next World’s Fair: the food truck. In honor of the theme of the 2015 Milano Expo—“Feed the Planet, Energy for Life"—the American Pavilion, called American Food 2.0, includes street-level food trucks that will serve up some favorite American dishes. James Biber, the New York City–based architect of the pavilion, told Business Insider, it's not been decided which food trucks will be included at the site, but that there will be lobster rolls "for sure." But the pavilion design doesn't end with food trucks. [beforeafter] [/beforeafter] The pavilion’s most visually distinctive feature, is its hydroponic facade—or, a football-field-length,vertical farm that is planted with harvestable crops. "It is as though a typical horizontal field was rotated (think Inception with a farm field standing in for Paris) to become the side of a building," said Biber Architects in a statement. "It's not our proposal for serious urban or vertical farming, which is usually indoors, but a didactic display talking about the past, present, and future of the American farm, and the American diet." Behind the vertical farm is an airplane hangar-sized door, which opens the structure to the public. A "boardwalk" made of recycled lumber from American boardwalks takes viewers from the first floor to the second. Above that is a roof-top terrace, which is partially covered in a glass shade and photovoltaic panels. Biber told Architectural Record that the masterplan for the Expo, which was partially designed by Herzog & de Meuron, is "the most urban" he's ever seen. Lots at the site are only 20-feet-wide to create a more dense fabric. The Expo opens its doors to the public on May 1, 2015. [beforeafter] [/beforeafter]
Herzog & de Meuron will be designing the new Vancouver Art Gallery. The plan will double the size of the 300,000 square foot existing institution.The new Vancouver Art Gallery will be the Swiss firm's first Canadian project. HdM was selected out of the shortlist that consisted of Diller Scofidio + Renfro (New York), Tod Williams Billie Tsien Architects (New York), KPMB Architects (Toronto), and SANAA (Tokyo). The finalists, announced in January, were chosen out of 75 firms from 16 countries who submitted to an open Request for Qualifications process issued by the gallery. Conceptual designs are expected to be revealed in early 2015.
British architects Allies and Morrison have submitted their planning applications for the 22-acre mixed-use development for London's Canary Wharf. Swiss firm Herzog & de Meuron has designed a 56-story tower that will account for some of the 3,100 residential units planned for the project. London-based Stanton-Williams is responsible for the other two apartment buildings to be included in the new neighborhood, known as "Wood Wharf." The master-plan also incorporates extensive office space, over 100 shops, and some 39,000 square feet of public space. The Stanton-Williams contributions to the development are dwarfed by Herzog & de Meuron's tall, cylindrical structure. Staggered balconies wrap the facade in a pattern that shifts repeatedly as it progresses vertically. The buildings are situated among curvaceous green expanses that butt up against surrounding waterways. The office buildings, designed by Allies and Morrison themselves, will attempt to court creative media, technology, and telecommunications companies to the newly minted neighborhood. This unveiling only constitutes phase one of the development. A two-form entry primary school, multipurpose sports hall, and a healthcare facility are all meant to be incorporated into the neighborhood as the project advances. Efforts will be made to ensure ease of connectivity to the city's public transportation system for Wood Wharf inhabitants. Bus routes have been added and the installation of ever-popular bike rental stations is expected. Pending approval, construction on the plan will begin next year with a tentative completion date of 2017. In doing so it will join their latest addition to the Tate Modern as Herzog & de Meuron projects underway in the capital city.
The Nobel Foundation, the body that administers all activities involved in the delivery of the prestigious Nobel Prize, has shortlisted 12 architecture firms to partake in an international design competition for the new headquarters in Blasieholmen, Stockholm. In addition to providing a global headquarters, the establishment will also include a visitors center where the public can explore the natural sciences, humanities, and peace efforts of the United Nations. One of the key factors for the Foundation in selecting the architects to participate involved "their ability to work in intricate urban environments where historical context and the natural environment must be considered with sensitivity." The 12 selected firms include: - 3XN, Denmark - BIG, Denmark - Herzog & de Meuron, Switzerland - Johan Celsing Arkitektkontor, Sweden - Lacaton & Vassal Architectes, France - Lundgaard & Tranberg Arkitekter, Denmark - Marcel Meili, Markus Peter Architekten, Switzerland - OMA, Netherlands - SANAA, Japan - Snøhetta, Norway - Wingårdhs arkitekter, Sweden. - David Chipperfield Architects, England/Germany. At this stage of the competition, all submitted entries are anonymous, and the renderings are available in a public exhibition at the Nobel Museum in Stockholm. The winning design proposal will be announced during the spring of 2014. The design proposals:
Over a star-studded semi-finalist list of Western architects, Pritztker-Prize winning French architect Jean Nouvel has been awarded the commission to design the world’s largest art museum: the new National Art Museum of China in Beijing. The 130,000 square meters NAMOC building is intended to exhibit works by 20th-century and traditional artists from worldwide. The Financial Times reported earlier this year that Jean Nouvel’s design idea as that of a single ink brushstroke, a concept of traditional Chinese art and calligraphy. With sweeping glass and a reflective facade, the museum’s exterior takes obvious inspiration from the art visitors will encounter within its walls. The winning design’s facade makes up a tangible interpretation of a brushstroke. Pierced stone screens and streaked patterned glass create a varied, yet continuous exterior. Shimmering and semi-transparent, the surface allows for a blotted reflection of the colors and shapes of the surrounding dragon-shaped garden and sea of red flags. The building touches the ground only at four points, sweeping upwards in its center as if the artist had a vertical inspiration. In this phenomenon, Nouvel has envisioned two different leveled lobbies for entrance to the museum. The summer lobby on the ground floor is exposed to the elements, surrounded by nature. But, in winter months it can be closed off and visitors enter through the first floor, protected from the elements yet surrounded by semi-transparent glass walls that give visions of what’s outside. After entering the competition in December 2010, Jean Nouvel's design was set on a shortlist of twenty, then narrowed down to five, alongside Hadid, Gehry, Herzog & de Meuron (who withdrew), and Safide. Although there was some speculation for a winner after Gehry Partners released their design renderings to the public for a current exhibition at the Museum of Contemporary Art in Los Angeles, Jean Nouvel’s highly coveted win was later confirmed by his advisor, Olivier Schmitt. The museum will be located in Olympic Park adjacent to the Ai Wei Wei-designed Bird's Nest Stadium from the 2008 Olympics. The Chinese government has made no official comment on the commission decision or a timeline for construction.
Earlier this year, AN assembled a list of the most prominent projects rising in Miami. One of the developments, the Herzog & de Meuron–designed Pérez Art Museum (PAMM, formerly the Miami Art Museum), is nearing completion and is scheduled to open to the public by the end of the year. At The Architects Forum Glass+Performance on September 11th in Atlanta, key participants, including Peter Arbour of seele, Vinu Abraham of Architectural Testing, and Emil Hoogendoorn of John Moriarty & Associates will present on the ambitious design and construction process of the Miami Art Museum facade, calling the endeavor The Biggest Glass in Miami Dade County. Positioned on Museum Park overlooking Biscayne Bay, upon what has been declared the Magic City’s “last big piece of public land downtown,” the new museum’s concrete and glass structure gestures to Stiltsville, a vernacular 1930s form of architecture built on the bay. Various column-free exhibition galleries within the 200,000-square-foot, three-story building accommodate works of differing scales. The museum contains an educational complex, auditorium, and digital workspaces, along with a restaurant and store. Shaded by a canopy, the museum is situated on an elevated plinth open to a landscaped veranda and plazas. The Architects Forum is hosting a session at GlassBuild America filled with short presentations of the design, prototype testing, and construction of the museum's state-of-the-art facade. Arbour, Abraham, and Hoogendoorn will explain the multifaceted and impressive process, focusing on the use of glass as a facade material. A panel discussion and audience Q+A will take place after the presentation. Register to learn about the process behind the Pérez Art Museum's glass facades and discover more information about Session 3: The Biggest Glass in Miami Dade County: Construction of the Miami Art Museum Facades.
With an invaluable series of programs on the lineup at GlassBuild America: The Glass, Window & Door Expo next month, there couldn’t possibly be another reason to attend, could there? As part of the expo, GlassBuild is collaborating with the National Glass Association’s (NGA) Glass Magazine and The Architect's Newspaper, bringing over 150 architects to Atlanta for the opportunity to earn five (5) AIA CEU credits at Glass+Performance! Register now for a day of meaningful education and experience the cutting-edge technology and high-performance products the glass and glazing industry has to offer. The NGA Architects Forum’s Glass+Performance draws in top-notch designers and trade experts for a concentrated daylong symposium focused on the design, fabrication, and construction of high performance architectural and decorative glass. Highlights include a keynote address by LA design trailblazer, Neil Denari, and a preview of the new, under-construction Miami Art Museum designed by Herzog & de Meuron, in addition to three-day access to GlassBuild’s trade show floor. Attendees will be awarded maximum AIA CEU credits simply by networking with and learning from prominent presenters at the following sessions:
- Functional Appeal and Aesthetic Challenges of Glass Design for Today’s Building Facades presented by Philip Vourvoulis of Triview Glass Industries, plus special speakers.
- The Biggest Glass in Miami Dade County: Construction of the Miami Art Museum Facades presented by Peter Arbour of seele, Inc; Vinu J. Abraham of Architectural Testing, Inc.; Emil Hoogendoorn of John Moriarty & Associates, Inc.; and Stefan Hoerner of Herzog de Meuron Architects.
- Structural Glass: Ancient Material Modern Treatment presented by Michael Ludvik, PE of M.Ludvik Engineering.
Live At Glassbuild Architects Forum: Experts Talk Engineering Big Glass For Herzog & de Meuron’s Miami Art Museum
There are many reasons not to miss the new Architects Forum at Glassbuild this year. For one, Neil Denari will be giving the keynote speech. For two, members of the project team will be giving a presentation on the design, prototype testing, and construction of the facade of Herzog & de Meuron's new Miami Art Museum. This unique building features integrated plantings, multiple micro climates, and some of the biggest expanses of glass in all of Miami Dade County. The presentation will be led by Peter Arbour, a facade designer with a Master of Architecture from Yale University who currently works in the New York office of German facade builder seele. Peter has worked for Israel Berger and Associates, Dewhurst Macfarlane and Partners and RFR Consulting Engineers in Paris. Peter’s project works include 40 Bond Street, with Herzog & de Meuron; the Times Square TKTS booth in with Nick Leahy; the Tour Phare, Paris, with Morphosis; the Grand Museum of Egypt, with Heneghan Peng Architects; and the Broad Museum with Diller Scofidio + Renfro. Peter is the designer and patent holder of the Liquid Wall curtain wall system.
A team led by Herzog & de Meuron has been unanimously selected for the redevelopment of Melbourne’s historic Flinders Street Station after beating out a star-studded shortlist that that included Zaha Hadid and Grimshaw. The team will be awarded a $1 million prize. The winning design aims to transform the iconic 1909 train station into a 21st century civic center and transportation hub, preserving the most beloved features of the landmark building while integrating it into a contemporary urban context. The proposal also incorporates cultural, retail, and civic programs within an adjacent 500,000 square foot site along the Yarra River, including a public art gallery, plaza, amphitheater, marketplace, and permanent space for arts and cultural festivals. While the old Flinders Street Station has become an icon of the city, especially the copper dome, grand arch, and distinctive clocks of its main façade, it could barely handle the nearly 100,000 straphangers who step onto its platforms each day. As Mark Loughnan of Melbourne-based Hassell told Building Design, “Today it is a place people generally choose to hurry through. Our design makes it a destination, with new buildings an features that will attract people to the precinct.” Borrowing formally from the arches of the existing station and unbuilt features of the original design, the new station is composed of long, rippling white vaults, perforated to allow for natural light and ventilation on train platforms. The vaults follow the alignment of the tracks, curving slightly to intuitively lead commuters through to the central plaza and outdoor amphitheater along the river’s edge. Across the plaza, four similarly styled, straight, white vaults house the civic, cultural, and retail functions. The new design is meant to ease commuter and pedestrian flows through thought the station while readying the site for potential future growth. According to Melbourne's Herald Sun, initial estimates place the cost of the new station between $1 billion-$1.5 billion.