Posts tagged with "James Carpenter":

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Renderings finally revealed for the base of the Western Hemisphere’s tallest tower

With all the attention focused on the impossible height of New York's new crop of supertalls, it's easy to forget that even skyscrapers have a tether to earth. Renderings were recently revealed for the base of Adrian Smith + Gordon Gill's 1,550-foot-tower, which, when complete, will be the tallest building in the Western Hemisphere. Most mere mortals will never ascend to Central Park Tower's 95th floor, let alone live in one of its 182 condominium units, but it will be possible to go shopping at its base. The anchor tenant, Seattle–based Nordstrom, will occupy 363,000 square feet over eight floors: Three below and five aboveground. James Carpenter Design Associates created the undulating glass facade that runs up seven stories from the sidewalk. The sprawling department store will be Nordstrom's first Manhattan flagship, but it won't be contained to 217 West 57th Street, The Seattle Times reports. As seen in the two renderings below, the retail footprint will blend new and old by extending into three adjacent prewar buildings. Nordstrom's, along with the rest of the building, is expected to open in 2019.
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It’s a Wrap: Highlights from AN’s first Los Angeles Facades+ Conference

  The first-ever Los Angeles Facades + conference, organized by The Architect’s Newspaper and Enclos, held in the shadow of Bunker Hill’s glassy towers, showcased the city’s technical and creative talent while introducing participants to the building envelope field’s latest technologies and trends. Keynote speaker James Carpenter set a sophisticated tone, showing off richly complex work that explores both the “cinematic” and “volumetric qualities of light.” His World Trade Center 7 base, he pointed out, uses a subtle shift in plane to create an ethereal glow, while another project for Gucci in Tokyo uses prismatic light to recreate the qualities of a Japanese lantern. Other highlights included his louvered Israel Museum and his new exploration of optical aluminum, thin glasses, and computer etched glass.   This look toward the future continued in the next panel, discussing “Net Zero and the Future Facade.” Panelist Russell Fortmeyer, from Arup, pointed out that by 2030 every building in California will have to be Net Zero, putting pressure on upcoming research. One way to achieve this, said fellow panelist Stephane Hoffman, of Morrison Hershfield, is through better use of computer performance models. Facades will also need to have the ability to change over time, noted Alex Korter of CO Architects. This ability to change was discussed in detail by the next presenter, Ilaria Mazzoleni, whose talk on “Biomimetic Principles for Innovative Design” stressed natural systems’ ability to be both beautiful and extremely functional. Learning from natural skins, and their regulation of heat, humidity, and communication will help facade manufacturers reap dividends. One example: natural phase change materials, which are already using natural elements to store heat and cold inside building envelopes.   The Preservation and Performance Panel, while focused on historical structures, did not look backwards. Instead panelists discussed updating Modernist facades for present day conditions (including sustainability), while maintaining historic integrity. Historic properties like Minoru Yamasaki’s Century Plaza and William Pereira’s Metropolitan Water District building are being updated using sustainable materials and systems that bring the buildings into the 21st century. Afternoon keynote speaker Larry Scarpa, of Brooks + Scarpa, acknowledged the need for high tech consultants, but stressed his role in combining simplicity and beauty. His firm has employed unusual, basic materials like crushed soda cans, wood shipping crates, and metal mesh to create fascinating patterns of surface subtlety and diffuse light.   On the other end of the spectrum, an excellent example of the future façade—Cornell’s Architecture hall by Morphosis— was discussed in the symposium’s technical panel. And an architect at Morphosis, Kerenza Harris, noted how on that project, and on their Emerson College in Los Angeles, computer technology allows them to keep every panel, every module, in exactly the right place. That means thousands of components; a feat of fabrication and organization that would never be possible without current technologies. Fellow panelist Bill Kreysler espoused the benefits of composite facades, which he said will one day revolutionize construction, without the burdens of studs, metal frames, or other commonplace fabrication components. The look toward revolutionary technology reached its pinnacle with fabricator Andreas Froech’s panel on “Site Deployed Collaborative Bots.” Some day, he argued, programmable machinery and automated tooling, along with composite materials, will replace laborers and traditional materials. He pointed to the building of automobiles, which is already largely automated.   In order to move into this automated future, pointed out Walter P. Moore’s Sanjeev Tankha, in his discussion of engineering risk, data flow needs to become more seamless between programs like Rhino, Revit, and ultimately into live models. With all these systems of software, hardware, and knowledge in perfect position, and with standards like Net Zero enforced by local officials, the future of the façade looks to be exciting, and remarkably different. Some day, as Gerding Edlen’s Jill Sherman pointed out, Net Zero sustainably and effective performance modeling will be standard, not out of the ordinary. And futuristic facades will not be what participant Alvin Huang of Synthesis called “techno-fetish,” but smart and obligatory.
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Video> James Carpenter’s glassy Meatpacking office tower on the High Line gets newly rendered

Last week, AN took a walk along the High Line to check in on all the new development happening right alongside New York City's popular park. One of the structures we saw steadily rising was 860 Washington Street, a 10-story glass office building by James Carpenter Design Associates. The project has been in the works since 2009 but is slated to finally welcome commercial tenants this October. With the upcoming opening, the developer has released new renderings of the project on a glossy website and a video of James Carpenter explaining his very glassy design. According to the building's website, 860 Washington is where "glass meets green."
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Video> Norman Fosters lets a drone loose in the Hearst Tower

To celebrate the upcoming 10th anniversary of New York City's Hearst Tower topping off, Lord Norman Foster let a drone loose inside his iconic work. In a video produced by the tower’s namesake, the Hearst Corporation, Foster marvels at how drone technology opens up an entirely new perspective on the 46-story structure. Someone needs to introduce this guy to Martha Stewart. “There are so many aspects which make this project unique,” says the Pritzker Prize–winner, dressed in a green corduroy blazer, “the idea that you’re using the most up-to-date technology, something that literally didn’t exist ten years ago to capture the building now, ten years on—that’s, I think, very symbolic.” The drone travels past James Carpenter’s cascading Ice Falls sculpture, through some editorial floors, and even into Gayle King’s office, who pretends to be on a phone call with fellow CBS This Morning co-host Charlie Rose.
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James Carpenter on Light and the Building Envelope

In architecture—and especially in warm, sunny locales like Southern California—light is a double-edged sword. Successful daylighting reduces dependence on artificial lighting and enhances occupants' connection to the outdoors. But the solar gain associated with unregulated natural light can easily negate the energy savings effected by replacing electric lights with sunshine. As leaders in the field of high-performance building envelope design, James Carpenter and Joseph Welker, of James Carpenter Design Associates (JCDA), are no strangers to the benefit-cost balance of designing for light. Carpenter and Welker will draw on their firm's extensive portfolio of both civic and commercial projects for "Light in the Public Realm," the morning keynote address at next month's Facades+ LA conference. "We'll talk about the approach we have to light—how you use light for the occupant, and for the public realm," said Carpenter. "It obviously has technical components, like cable walls and curtain walls. But the thread might be less about a purely performative agenda and more on performance and aesthetics together." JCDA's notable facades include two joint projects with SOM, 7 World Trade Center and the Time Warner Center atrium, both in New York. For 7 World Trade Center, the firm was tasked with integrating the glass tower and concrete podium. By floating vision glass in front of a stainless steel spandrel panel, the architects encouraged the play of light on the tower facade, creating an ever-shifting dynamic that blurs the line between building and sky. In the case of Time Warner Center, JCDA designed the largest cable-net wall ever constructed, and achieved the remarkable feat of hanging two cable-net walls from a single truss. To hear more from James Carpenter and Joseph Welker on JCDA's approach to light and the building envelope, register today for Facades+ LA. More information, including a complete schedule of speakers and workshops, is available online.
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Pictorial> Illuminate SF setting San Francisco aglow

For the second year, San Francisco Travel (the city's marketing organization) is organizing Illuminate SF, a two-month series of light art installations around the metropolis. This year's version, taking place now through the end of the year, features 16 glowing pieces—11 of them permanent—including works by James Turrell, Ned Kahn,Vito Acconci, and James Carpenter. Many are integrated into San Francisco buildings, such as Morphosis' San Francisco Federal Building, KMD's SF Public Utilities Commission, the grain elevator at Pier 92, and various terminals at SFO. Cities like Cleveland and New York have held similar festivals in recent years. The San Francisco event includes the return of Leo Villareal's Bay Lights, the world's largest LED light sculpture covering the Oakland Bay Bridge's 1.8-mile-long West Span. Soma, by Flaming Lotus Girls, was originally displayed at Burning Man, and will be illuminated every night from sunset until 2:00 a.m. Accompanying events for Illuminate SF include film screenings, art walks, tours, light shows, Christmas Tree lightings, and even parades. Enjoy a slideshow of the phenomenal installations below.  
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Tisk-Tisk: Lamster Lambasts Dallas Architects

Mark Lamster, Dallas Morning News architecture critic and responsible citizen, chastised the Dallas community for its poor attendance at an April 9 James Carpenter lecture. The 2004 MacArthur Fellow, who was speaking at the Dallas Center for Architecture about his newest installation at the Cotton Bowl, shed light on his genius to a paltry audience of 10. Ten, that is, if Carpenter included himself in the head count. In an open letter to Dallas architects, Lamster expressed his dismay at the poor showing, calling out the large corporate firms especially for neglecting their responsibility to the intellectual community. If Lamster’s cantankerous contentions nix him from a cocktail party or three, previous experience says he will not care. Last November, Lamster tweeted a cheeky “Thanks!” in response to a snarky Texan’s attack on the Brooklyn writer’s roots.
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Reinventing the Facade: SKIN Competition Names Four First Stage Finalists

Tex-Fab has concluded the initial stage of its international competition called SKIN. The two-stage competition invited architects, designers, and researchers to rethink the traditional building envelope by exploring the performative qualities of a facade. Participants selected any context, real or virtual, at any scale and on any building type. Phase one jurors narrowed down 68 entries from across the world to four finalists and four honorable mentions. Jurors Phil Anzalone, Maria Mingallon, Gregg Pasquarelli, Randy Stratman, and Skylar Tibbits conferred on July 9th and initially selected 14 entries to discuss. Varying in type and method, the entries depicted a diverse display of ideas and work, compelling the jury to choose four finalists and four honorable mentions. Finalists include Project 2XmT by Christopher Romero and Nicholas Bruscia, Cellular Complexity by Kais Al-Rawi, Julia Koerner, and Marie Boltenstern, Robot Assisted Sheet Metal Fabrication by Lik Hang Gu, Nathan Shobe, and Qi Su, and Sense by Isak Worre Foged and ANke Pasold. The first of the finalists, Project 2XmT, has a visibly developed working model and reveals the dramatic impact from various viewpoints created by small undulations or shifting panels. Juror Skylar Tibbits commented that “it’s the one most in line with the brief.” The next finalist, Cellular Complexity, has an appealing formal potential that tests the limits of architecture. Juror Phillip Anzalone remarked, “If it’s truly developed 3-dimensionally that would be fantastic.” Robotic Assisted Sheet Metal Fabrication was chosen as a finalist in context with the project per-Forming (HM), which received honorable mention, as both interacted with metal forming in distinctive, yet complimentary aspects. Juror Maria Mingallon trusts that “this one could really push the boundaries of TEX-FAB and could add to the exhibition at ACADIA." The last finalist, Sense, is simple with potential to be very dynamic. Tibbits remarked “it’s a known phenomena that could produce some exciting effects." Honorable mentions include Organized Crime by Kyle Miller, Evaporative Folding by Jeana Ripple, Hydromorph by Camden Greenlee and Brian Vesely, and per-FORMING by Jake Newsum and Ammar Kalo. The phase two jury includes Michele Addington, James Carpenter, Neil Denari, Mic Patterson, and William Zahner. Moving onto the second round, the four finalists will use $1000 stipends to develop prototypes of their projects, which will be installed at the ACADIA Adaptive Architecture Conference at the University of Waterloo in October 2013. At that time, the jurors will select a winner whose scheme will be assembled in full scale for the TEX-FAB 4.0 conference.
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“Sky Reflector Net” Installed at Lower Manhattan’s Fulton Center

Next year, when construction wraps up at the Fulton Center in Lower Manhattan, commuters will be gazing up, rather than around, at the station’s new artistic centerpiece—a curved, 79-foot-high reflective aluminum diamond web encased in a stainless-steel tracery. The showstopper will send ambient daylight into the mezzanines, passageways, and possibly even the platforms to help passengers orient themselves in the transportation hub. At $2.1 million, Sky Reflector-Net, an artist/architect/engineer collaboration between James Carpenter Design Associates (JCDA), Grimshaw Architects, and Arup, is an integrated work created for the Metropolitan Transportation Authority (MTA) Arts for Transit and Urban Design and Metropolitan Transportation Authority Capital Construction (MTACC). It is the largest such work that the MTA has ever commissioned. Sky Reflector-Net seamlessly incorporates both functional and aesthetic goals. The piece was recently installed within the transit center building designed by Grimshaw Architects and Arup. Arup is leading the 15-member sub-consultant team, which includes building design architect Grimshaw Architects, architect and historic preservationist Page Ayres Cowley Architects, architects HDR | Daniel Frankfurt. The general contractor for the Transit Center construction package (one of nine construction packages) is the Plaza Schiavone Joint Venture. Prismatic glass blades hanging at the top of the dome that cause the 8,500-square-foot surface to continually change by dispersing light rays throughout the station. Sky Reflector-Net consists of a stainless-steel lattice made of slender cables tensioned between two sizeable rings. The 53-foot-wide upper ring slants at a 23-degree angle. The 74-foot-wide lower ring sits at a 12-degree angle. The 952 perforated diamond-shaped and triangular aluminum panels each reflect approximately 95 percent of the light that strikes it. The largest reflective pane is just over eight feet tall.

Composed of 112 tensioned cables, 224 high-strength rods and nearly 10,000 individual stainless steel components, the design of the steel cable net sculpture emphasizes simplicity of construction and optimal performance in all environmental conditions. Arup developed 815 unique scenarios based on the possible permutations of air pressure, indoor temperature, and building movement within the Fulton Center dome. Each scenario produced a slightly different cable net shape. The net will assume these shapes over the course of its lifetime as the environmental conditions within the space change. Sky Reflector-Net is a powerful example of the capacity of a large tensile structure to define a landmark public space.

The Fulton Center serves the 2, 3, 4, 5, A, C, J, R, and Z subway lines and accommodates 275,000 passengers per day. The project is currently expected to cost a total of $1.4 billion, nearly twice the budget that was expected when the project began in 2003.