Kengo Kuma and Associates and Natoma Architects have been added to the project team for the recently-revealed 1111 Sunset Boulevard development slated for the former Metropolitan Water District (MWD) headquarters on the edge of Downtown Los Angeles. The announcement of the expanded team—which also includes SOM and James Corner Field Operations (JCFO)—came this week along with a fresh set of renderings for the 5.5-acre project. With the project, Los Angeles–based developer Palisades is looking to transform a derelict section of William Pereira’s MWD headquarters into a 778-unit mixed-use enclave containing retail, public open spaces, and a boutique hotel designed by Kuma. The development consists of three high-rise towers that sit atop a continuous and permeable podium spanning the sloped site. According to the renderings, the complex will contain a cluster of low-rise apartments at one corner surrounding underground parking for a pair of housing towers. As those apartments terrace up the hill, they will give way to a shared plaza at the base of the high-rise towers. Project renderings depict a pair of 30- to 40-story tall towers along this section of the site. Each of the towers rises from the podium on a gigantic pod containing a solid, monolithic core. Roughly five stories up, the tower’s typical floor plates begin to cantilever over the plaza, leaving an open viewshed several stories high from the plaza. The move is an attempt by the designers to minimize the heft of the project along its lower levels and an effort, as well, to preserve certain views for existing hillside residences located directly behind the development. The renderings also depict certain portions of the Pereira structure reused as ground floor amenity spaces. JCFO is developing the project’s more than two acres of landscaped areas. In terms of plantings, renderings depict clusters of palm trees, jacaranda trees along the street, and succulent-bordered lawn areas overlooking Downtown Los Angeles. The project will share the site with Linear City’s Elysian tower development, a portion of the existing Pereira-designed complex that David Lawrence Gray Architects repurposed in 2014. 111 Sunset is among several high-rise, high-density projects slated for the area. An official timeline for the project has not been released. See the project website for more information.
Posts tagged with "Kengo Kuma":
Danish studio Bjarke Ingels Group (BIG) has been award the commission to design a subway station in Paris. Working with local firm Silvio d’Ascia Architecture, BIG has designed the Pont de Bondy station situated northwest of Paris. The station will one of 68 new stations which will form the Grand Paris Express—a new infrastructure project in the French capital which is due to add 124 miles of rail to the existing subway network. Clad in terra-cotta, the looped "P"-shape design bears an orthogonal frame in section and spans the Ourcq canal, providing a sheltered walkway for pedestrians. Inside the P's counter will be the station area itself, meanwhile the other main entranceway extends along the canal's banks. This will elegantly connect with the sidewalk while passing under the existing tram and road bridge. Keeping with the typographic theme, "PONT DE BONDY" appears to be emblazoned on the structure in BIG's distinctive typeface. The Pont de Body station will be a major part of the Grand Paris Express, being one of nine special "emblematic stations" throughout the new subway network. Conceived by the Société du Grand Paris (a public agency for industrial and commercial transport development), the scheme aims to reduce travel times, link business districts with each other and the center of Paris, as well as connect airports Charles de Gaulle, Orly, and Le Bourget. BIG and Silvio d’Ascia Architecture's station will be part of Line 15, a ring route surrounding Paris, and be the main access point for the business hub that joins the Bondy, Bobigny, and Noisy-le-Sec districts. Other notable architects such as Kengo Kuma and Dominique Perrault are also part of the scheme, with both, like BIG, having won the commission to design a business district node. Kengo Kuma Associates has designed the Gare Saint-Denis Pleyel station located north of Paris and Dominique Perrault Architecture has designed the Gare Villejuif Institut Gustave-Roussy situated south of the capital. Both stations will be on the Line 15 ring route and connect to Pont de Bondy.
This summer, House Vision, curated by Muji creative director Kenya Hara, is showcasing a dwelling from Airbnb and Go Hasegawa (the Yoshino House), as well as a slew of Japanese architects including Sou Fujimoto, Atelier Bow-Wow, Kengo Kuma and Shigeru Ban. On display at the exhibition are twelve housing prototypes that respond to the theme of "CO-DIVIDUAL̶ Split and Connect/Separate and Come Together." Architects and design firms were tasked with addressing the idea of connectivity between individuals. In a press release, House Vision stated: "Japan faces significant issues with this topic, as a country struggling with economic stagnation, a decreasing population, an aging society, disasters striking one after another, and increasing friction in interpersonal communication." "That is precisely why Japan is the ideal place to examine the form of the house from many different perspectives, exploring specific survival strategies with the potential to show how we will live in the future," the statement continued. Talks are due to be held at the exhibition, which runs through to August 28 of this year, at the Rinkai Fukuroshin, Jarea, 21 A omi, Koto, Tokyo. Visitors to the exhibition can find the Yoshino House, a product of Airbnb’s newly announced design studio, Samara, who worked with Tokyo-based architect Go Hasegawa. Earlier this year, AN's senior editor Matt Shaw sat down with with Co-founder and Chief Product Officer Joe Gebbia to discuss the house and the future of housing and community. Tickets for House Vision can be purchased here and as well as at the gate.
Japanese architect Kengo Kuma has designed a billowing geometric pavilion for the Phillipe Gravier Gallery at the biannual Design Miami/Basel 2016 design forum. Called Owan, Kuma's pavilion aims to establish a dialogue between architecture and the landscape by employing an undulating mesh-like structural shell. Owan's design also derives from the curvature often found in fish scales and traditional tea bowls from Kuma's homeland. The pavilion's shell can be altered, changing its relationship to the site and its interior dimensions. Though appearing porous, Owan is lined with a thin waterproof membrane that can move in the wind along with the lightweight structure. https://vimeo.com/164417666 In the video above, you can see how the structure responds to light. Given the structure's intended natural environment, the trajectory of the sun should play in important role in the pavilion's performance. Design Miami/ (June 14 - 19) is a forum that has a strong pedigree in the world of design collectables. Kuma’s Owan will be presented at the forum's “Design at Large,” which will also exhibit further large-scale installations under the theme of "tea house," notably Ron Arad’s Armadillo Tea Canopy by Revolution Precrafted.
Japanse architect Kengo Kuma has been awarded commission to design the expansion for the Hans Christian Anderson museum in Odense, Denmark. Fending off compeition from Barozzi Veiga and Snøhetta, and Denmark's own Bjarke Ingels Group, all of whom remained until the contests latter stages. The project aims to create a new home for the author behind childhood classics The Ugly Duckling, The Emperor’s New Clothes, and The Little Mermaid. In order to achieve this, the museum's expansion will carry a fairytale theme, captured in Kuma's plan for the museum that features a large garden filled with tall trees that are encompassed by circular timber structures. Covering 64,600 square feet, these volumes will house new multipurpose spaces as well as an underground level. A "Tinderbox Cultural Centre for Children" also part of the scheme, will aim to instill a sense of empathy and imagination in visitors, echoing the themes in Christian Anderson's tales while also teaching the children of his work. Odense's mayor Anker Boye, who was also the jury chairman for the competition said: "The proposal has a unique quality that captures the spirit of both Hans Christian Andersen and Odense, has striking international calibre and is locally embedded at the same time. It is a project that I can only imagine taking place here in Odense. But at the same time, it points far beyond anything local or national. It is internationally "Odensean"." Kuma's scheme revolves partly around what the British exhibition design firm Event Communications submitted as a winning proposal earlier in the year. Jane Jegind, Odense's Alderwoman for Urban and Cultural Affairs said that this was an "unusual" procedure, but was one of Kuma's project's strengths. "In planning the project, it was important to us that gardens, building and exhibition design were envisaged as an interconnected whole that clearly captures the spirit of Andersen and brings out the essence of the City of Odense at the same time, she said. The project's funds look set to be finalized by the end of this year, with ground breaking shortly after. Kuma himself will then open both the Olympic stadium in Tokyo and the Hans Christian Andersen Museum in Odense when the two projects are due to be complete in 2020.
Japanese architect Kengo Kuma has given an office in Nomi, Japan, a carbon fiber curtain that spans outwards from the roof edge in an undulating, wave-like fashion. The building, known as "fa-bo," is home to the company Komatsu Seiren who uses it as a "fabric laboratory" to manufacture, research, and exhibit new clothing materials. Kuma's renovation isn't just for aesthetics: in a first, the carbon fiber makes the building more earthquake resistant. According to Kuma's website, the fiber rods are supposedly ten times stronger than iron. In a video (see below) Kuma explains how carbon fiber was an obvious choice as it facilitated "transparent quake resistance." https://youtu.be/SIorJpr784o The feature also draws on a local technique of braiding ropes which makes it possible to "add further flexibility to the carbon fiber," something Kuma described as a "fascinating" development. "I find it very interesting that the answers were right there. Bringing together technologies that are both old and new and then mixing them together...is outstanding" he said. Although a helpful solution to counter seismic activity, fixing the rods to the building forced Kuma and his team to meticulously focus on every detail in the joinery. Kuma also believes that the carbon fiber rods have the potential to shape 21st century architecture. "We believe there is something new in this construction material," he said. "As far as materials are concerned, fibers are very strong and gentle to people....In fact, it has the potential for creating a major revolution in the world of construction," he went on to say. The rods are also employed inside the building too, allowing light to filter into spaces. On the roof, "experimental greening" uses porous ceramic panels (called Greenbiz) that are created as a byproduct of the fiber manufacturing process.
Using aluminum casts that have been drilled to allow light to filter through, Japanese architect Kengo Kuma has created a tranquil space that is the Vanke Art Gallery. Located in the Wuxi province, just West of Shanghai, the gallery's amoeba-like footprint is derived from the shape of the local Taihu Lake stone that was once at the epicenter of Taihu culture in China. Kuma's project also involved the renovation of a former cotton mill that is also part of the gallery complex. The curvaceous aluminum-panelled facade wraps around the main structure, clad with glass, giving it a wide berth. These panels allow light to permeate through myriad gaps and gently illuminate the interior gallery. Because the facade was placed in front of the actual glass elevation, the effects of shadowing are exaggerated. Meanwhile, light is also allowed to reflect off water that bridges the gap between these two facades. In some places, this shallow pool of water's footprint extends beyond that of the aluminum facade. As a result, three distinct footprints interplay, with the water acting as the initial threshold, of a series of three, between the public and private space. The water, as the primary threshold, also establishes a calm and tranquil environment, something Kuma was eager to construct with the area's history of being home to a bustling brick-built cotton mill. This is then reinforced via light filtering through and the choice of materiality. Kuma, while disrupting the function within the immediate vicinity also instills a sense of tradition, drawing on the history of Lake Taihu, where the form of the Taihu stone comes from. Wuxi Vanke Art which occupies a combined 112,375 square feet also offers spaces for commercial functions and offices within the two structures.
At last, design for the Tokyo 2020 Olympic Stadium has finally been decided with Kengo Kuma's winning commission. The Japanese firm fought off a plan by Toyo Ito to claim the prize. Zaha Hadid, however, was less than complimentary of the decision. The 80,000 capacity stadium will cost $1.2 billion, almost half the cost of Hadid's proposal and will crucially be constructed by Taisei Corp, a major firm in Japan. That's not to say that decision isn't still mired in controversy. Nicknamed the "hamburger," several architects, according to the Financial Times, claim it bears “remarkable similarities” to a an earlier design that was scrapped in July. Utilizing a wood and steel roof, Kuma's design creates a green space within the city of Tokyo with the facade’s horizontal lines seemingly referencing the 1,300-year-old Gojunoto wooden pagoda at Horyuji Temple. Meanwhile the environment is completed via the implementation of Jingu Shrine trees and other foliage found within the vicinity of the stadium. Prime Minister Shinzo Abe spoke of the design, saying "I think this is a wonderful plan that meets criteria such as basic principles, construction period and cost," when he announced the winning practice. Hadid, though, has other ideas. “Sadly the Japanese authorities, with the support of some of those from our own profession in Japan, have colluded to close the doors on the project to the world,” Zaha Hadid Architect's said in statement. "This shocking treatment of an international design and engineering team ... was not about design or budget." "In fact much of our two years of detailed design work and the cost savings we recommended have been validated by the remarkable similarities of our original detailed stadium layout and our seating bowl configuration with those of the design announced today," she continued. Completion is set to be around November 2019, though there are doubts that it will be ready in time for the Rugby World Cup that Japan is hosting that year. This was initially a requirement that was demanded by the Japan Sports Council and one that Hadid says her firm would have been able to meet. “Work would already be under way building the stadium if the original design team had simply been able to develop this original design, avoiding the increased costs of an 18-month delay and risk that it may not be ready in time for the 2020 Games.” Meanwhile, president of Tokyo 2020, Yoshiro Mori, has said, “The stadium incorporates the views of experts in the construction field and we are looking forward very much to using the new stadium as the centrepiece of the Tokyo 2020 Games.”
Earlier this year AN's Eavesdrop column predicted the shortlist for Wilshire Boulevard Temple's "Gathering Place," a 55,000-square-foot event space across the street from the institution's sanctuary. The final list has been revealed and includes big hitters such as OMA, Kengo Kuma & Associates, Morphosis Architects, and Steven Holl Architects. The only firm we didn't predict was Holl (we had Renzo Piano taking the fourth spot). According to the temple, the New York Times prematurely crowned OMA as the winner. "These things often leak but don’t always get reported accurately," said Temple spokesperson Susan Gordon. The announcement of the winning team is still "weeks away," said Gordon. Members of the selection committee include Erika Glazer, Eli Broad, Tony Pritzker, Dana Hutt, and Richard Koshalek. Meanwhile the temple—which is following an ambitious master plan— has already begun construction on the renovation of two school buildings, its Karsh Social Service Center, a rooftop athletic facilities, and a new landscaped walking path. Stay tuned for more.
The acclaimed architectural firm that once decked the walls of a Tokyo Yakitori bar with LAN cables recently completed designs for the latest retail outlet of Shang Xia, a Chinese culture–inspired offshoot of the renowned Hérmes fashion brand. Touted as “a space combining retail, culture and the arts,” the Shanghai-based space is an expanse of natural wood and sandstone housed in an unassuming red-brick French villa. The interior walls sport a plastic-meets-cloth veneer that has been tri-axially folded into honeycomb-like indentations. Heat-treated and shaped in Japan, the material has the shape-memory texture and strength of plastic and the softness of natural cloth. Founded by designer Jiang Qiong Er, the brand is dedicated to the art of living as embodied by Chinese heritage and craftsmanship, retailing fine decorative objects, sculptural furniture, luxurious garments and rare accessories. Guided by a 21st-century Asian aesthetic, the elegant, 1,356-square-foot retail space is fronted by a pixelated all-glass veneer facing the thrumming streets of Xintiandi, near Shanghai’s commercial center. The work of famed Japanese architect Kengo Kuma, the outlet includes exhibition space for arts and culture. The architect also previously designed Shiang Xia’s outlets in Beijing and Paris, the latter resplendent with a lattice of over 10,000 glistening tiles extending into a layered ceiling installation. Meanwhile, the Beijing store contained latticed partitions of extended aluminium, which evoked a brickwork skeleton.
Kengo Kuma’s Victoria & Albert Museum of Design in Dundee, Scotland, hasn’t even broken ground yet, but it has already racked up a pretty substantial bill. In fact, the museum project is expected to cost roughly $80 million, a whopping $35 million more than initially projected. Kuma won the commission back in 2012 and has supposedly already tweaked the design to cut down costs. "The V&A Museum of Design Dundee is a very complex project, we have done extensive cost checking during the design process, and we have market-tested the major building packages with various contractors," Kuma’s firm told Building magazine. "Due to several factors, including inflation and current market conditions, the tender returned surprisingly high and this was unexpected even to the main contractors due to the complex nature of the project." The project was recently reviewed by the city after the price dramatically increased, but after a meeting this month, city councillors have approved the new budget and are working on a plan to raise additional funds. If all goes well and the City of Dundee can swing the hefty costs with the help of private funding, the V&A will be open by 2018.
Wilshire Boulevard Temple, one of Los Angeles' historic gems, was just splendidly renovated by a team led by Brenda Levin & Associates. Now it appears to have shortlisted some of the world's top architects for its 55,000 square foot addition. The temple has declined to comment on the shortlist, but according to a source OMA, Renzo Piano, Morphosis and Kengo Kuma are now competing to design a 55,000-square-foot addition. Called The Gathering Place, the$30-35 million event and programming space will contain a banquets hall, cafe, meeting and conference rooms, and administrative spaces located at the northwest corner of Wilshire and Harvard boulevards. "The design must establish an iconic profile while taking into account the adjacent historic sanctuary building," noted the competition RFQ. That's not an easy task considering the phenomenal presence of the Byzantine revival sanctuary. Finalists' submissions are due at the end of January, and the winning team will be chosen in June. Members of the architect selection committee include philanthropists Eli Broad and Tony Pritzker, and one advisor to the committee is Richard Koshalek, who oversaw the competition for Walt Disney Concert Hall, among others.