Posts tagged with "MAD Architects":

Placeholder Alt Text

MAD Architects releases new renderings of the Lucas Museum’s public loggia

NBC Los Angeles has released another collection of new renderings for the MAD Architects–designed Lucas Museum of Narrative Art. While The Architect’s Newspaper published several of these new renderings back in May, the latest release includes three new images depicting the public loggia located between the building’s two main entry pods. The renderings depict a series of bubbling masses rising from the surrounding parklands with what appear to be metal panel-clad bubbles and domes stretching up out of the ground. At one end of the loggia, the bubbles conceal a restaurant space; on the other, they shelter entries to a library and digital classrooms. At the center of the loggia, the building’s mass rises to its crescendo, where it is capped by a central oculus. The dome’s descending pendentives frame the complex’s two main, glass-clad entrances. One end of the loggia contains entrances to an amphitheater while the other end leads to the museum’s principal entrance. The oculus above is framed in glass curtain walls, allowing visitors to see below from above. The inside of the entry spaces is clad in wood paneling, similar to MAD Architects' treatment for the Harbin Opera House in Harbin, China. The Lucas Museum is expected to begin construction in September of 2018 and open in 2021.
Placeholder Alt Text

Lucas Museum receives final approval, moves toward 2018 groundbreaking

The Los Angeles City Council voted this week to grant final approval for the MAD Architectsdesigned Lucas Museum of Narrative Art. The most recent iteration of the project—sited in Los Angeles’s Exposition Park, across the street from the University of Southern California, George Lucas’s alma mater—represented the third attempt to find a home for the itinerant museum-to-be. Previously, Lucas and his wife Mellody Hobson, who is the chairperson for DreamWorks Animation and a driving force behind the project, had tried for two separate sites, first in the San Francisco Presidio and later in Chicago’s Jackson Park. Both efforts were rebuffed by community activists. Last fall, the Lucas Museum board of directors made another push for California by selecting two potential sites in the Golden State, with a site on San Francisco’s Treasure Island and one in L.A.'s Exposition Park competing for the $1 billion museum. The Los Angeles site was chosen earlier this year amid much public fanfare on the part of elected officials. Some, however, fear the project will bring increased gentrification to the working class neighborhoods surrounding the park. The proposed 300,000-square-foot complex will rise five stories—roughly 115 feet—and contain a movie theater, lecture hall, library, restaurant, and digital classroom spaces, all in addition to its galleries. The boat-shaped structure, according to renderings, will be lifted off the ground via two large piers containing the ancillary programs mentioned above. Three floors of continuous gallery spaces will span above the piers, with a planted rooftop terrace capping off the entire complex. The museum will be underpinned by a 2,425-stall parking complex located underground and will be surrounded by nearly 11 acres of new parkland. The museum’s collection, according to the Lucas Museum website, will be divided into three categories: Narrative Art, Art in Cinema, and Digital Art. The museum will also make its debut with a $400 million endowment. The unanimous approval from the L.A. City Council paves the way for the museum to break ground in 2018. The museum is expected to open in 2021.
Placeholder Alt Text

New renderings revealed for Lucas Museum in L.A.

MAD Architects’ proposed designs for the Lucas Museum of Narrative Art in Los Angeles have undergone a slew of design changes, according to documents filed with the Los Angeles City Planning Commission (LACPC). The documents, first reported by Urbanize.LA and filed in advance of a forthcoming meeting between the project’s backers and the LACPC set for May 11, come roughly five months after the museum board chose Los Angeles’s Exposition Park as the preferred site for the new $1 billion complex. L.A. was chosen in January over a parcel on San Francisco’s Treasure Island. The two California cities were briefly in competition with for the complex after backers abandoned an earlier pitch made for Chicago, Illinois. Now, as the project moves toward its projected 2018 construction kick-off, developers for the project are making their way through L.A.’s dense building approval process. The planning document calls for the construction of a 115-foot-tall museum, education, and leisure complex that will contain a restaurant, movie theater, lecture hall, digital classrooms, library, and event spaces in addition to gallery spaces. The project—unlike the proposed bids for San Francisco or Chicago—will contain a massive amount of parking: 2,425 stalls contained within a three-level subterranean garage. The 300,000-square foot complex will be organized with a collection of ground floor open spaces that connect to an 11-acre, park-like site. A rendering contained within the document indicates that the complex has tightened up, programmatically-speaking, and occupies a both a wider footprint and tighter envelope than before. The complex will be organized within an arrangement of dual, three-story piers topped by a continuous, two-level gallery block. The ground floor of the southern pier will contain archives and offices, with educational spaces on the second floor, and the library on the third. The northern pier will contain a pair of theaters and a main entry pavilion for the museum. A rendering included in planning documents shows a sinuous, metal-clad structure topped with trees and planted areas. The renderings differ somewhat from earlier designs and include the addition of a new underground space located below the project site. Construction for the project is expected to begin in 2018 and complete in 2021.
Placeholder Alt Text

New details emerge for L.A.’s Lucas Museum of Narrative Art

The board of directors for the Lucas Museum of Narrative Art (LMNA) recently chose Los Angeles as the latest—and potentially final—site for its troubled museum proposal.

The decision marks the third attempt by the LMNA museum board to find a location for the nearly $1 billion museum—resulting in multiple design schemes by MAD Architects. The LMNA will house a growing and expansive collection of graphic art, including works by Zaha Hadid, Edgar Degas, and Pierre-Auguste Renoir, among others.

MAD Architects’ initial designs for a site north of San Francisco were rebuffed in 2015 after community outcry. The LMNA team made a try for a site in Chicago in 2016, only to eventually scrap the plans in the face of fierce opposition to the project’s proposed location on the Chicago’s lakefront by a local community group. Most recently, LMNA’s board made parallel pitches for two sites in California: one on San Francisco’s Treasure Island and another in L.A.’s Exposition Park.

L.A. won out this round, gaining another cultural amenity for a site already home to the Los Angeles Memorial Coliseum, California African American Museum, California Science Center, and the Museum of Natural History of Los Angeles County. The new museum, if built, will also be located along the city’s Expo Line light rail line, and will help—along with a forthcoming Gensler-designed Los Angeles Football Club soccer stadium—extend a leg of transit-oriented development from a growing entertainment and hotel district in the South Park neighborhood nearby to one of L.A.’s core working class neighborhoods.

In announcing its decision, the Lucas Foundation’s board of directors extolled the virtues of the urban park and its surrounding neighborhood, saying in a statement: “While each location offers many unique and wonderful attributes, South Los Angeles’s Promise Zone best positions the museum to have the greatest impact on the broader community, fulfilling our goal of inspiring, engaging, and educating a broad and diverse visitorship.”

In an effort to preserve the park’s green spaces, the selected scheme will include public open space on its rooftop. Renderings for the proposal show the curvaceous museum located in a leafy, park setting topped with tufts of greenery. The museum also appears to gingerly touch the ground by coming down in a series of large, discrete piers.

It’s still unclear what sorts of developmental hurdles the museum will need to surpass prior to construction, but the project clearly has a fan in L.A. Mayor Eric Garcetti, who after learning of the decision, remarked to the Los Angeles Times, “It’s a natural place to have this museum in the creative capital of the world and in the geographic center of the city. It’s a banner day for L.A.”

Placeholder Alt Text

BREAKING: Los Angeles chosen as new site for MAD Architects’ Lucas Museum

The Board of Directors for the Lucas Museum of Narrative Arts elected this afternoon to pursue Los Angeles as the latest site for their troubled museum proposal. The decision marks the third time the museum board has attempted to find a site for the $1 billion, MAD Architects-designed scheme. The firm's initial San Francisco proposal was rebuffed in 2015. The team made a try for a site in Chicago, only to scrap the plans in the face of fierce opposition to the project by a local community group known as Friends of The Park. Instead, Los Angeles's Exposition Park, home to the Los Angeles Memorial Coliseum, California African American Museum, California Science Center, and the Museum of Natural History of Los Angeles County will now potentially host Lucas's namesake museum. The Los Angeles proposal was selected after the museum team made parallel pitches for a second site on San Francisco's Treasure Island and one in L.A.'s Exposition Park. The new museum, if built, will be located along the city’s Expo Line light rail line, within proximity of the forthcoming Gensler-designed Los Angeles Football Club soccer stadium, and would cap a park already brimming with global cultural and entertainment destinations. In announcing their decision, the Lucas Foundation's board of directors extolled the virtues of the urban park and its surrounding neighborhood, saying, "While each location offers many unique and wonderful attributes, South Los Angeles’s Promise Zone best positions the museum to have the greatest impact on the broader community, fulfilling our goal of inspiring, engaging and educating a broad and diverse visitorship." In an effort to preserve the green spaces of the park, the selected scheme will include public open space on its rooftop. Renderings for the proposal show the curvaceous museum located in a leafy, park setting topped with tufts of greenery. The museum also appears to gingerly touch the ground by coming down in a series of large, discrete piers. It's still unclear what sorts of developmental hurdles the museum will need to surpass prior to start construction, but the project clearly has a fan in L.A. mayor Eric Garcetti, who after learning of the decision, remarked to the Los Angeles Times, “It’s a natural place to have this museum in the creative capital of the world and in the geographic center of the city. It’s a banner day for L.A.” This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
Placeholder Alt Text

BREAKING: MAD Architects reveals alternate proposals for Lucas Museum in San Francisco and Los Angeles

Weeks after dropping a long-stalled bid for a Chicago location, MAD Architects and the Lucas Museum of Narrative Art have released a collection of renderings for competing schemes aimed at finding the wandering, proposed museum a welcoming home in either Los Angeles or San Francisco. The firm’s proposal for the Chicago location was scrapped earlier this summer after fierce community opposition to the project, to be located on a coveted site along the city’s waterfront in Grant Park. Despite strong support from the city's political class, the $700-million scheme, reminiscent of a futuristic, pitched tent, was ultimately killed by a lawsuit filed by the local community group known as Friends of The Park. The new proposals, being shopped simultaneously between California’s two largest cities, are being presented as pedestrian-friendly, public spaces for each respective city. Both are arranged with expansive second-floor gallery and exhibition spaces that are lifted up on massive piers that allow for park and pedestrian areas to stretch underneath each complex. Each would be 265,000 and 275,000 square feet of overall interior space, with roughly 100,000 square feet of that dedicated toward gallery functions. The Los Angeles Times states that the overall project cost, including a future endowment for the museum, could potentially top $1 billion.  The San Francisco proposal for is being pitched for the city’s Treasure Island and is being incorporated into the SOM-designed master plan for the island community’s waterfront. The building’s rigid-looking exterior skin, punctured by two expanses of glass swoops, culminates in what—based on renderings released by the firm—appears to be a large auditorium space. Aside from the wavy building, these renderings also depict the building’s surrounding ground floor areas as being hardscaped plaza with pedestrian connections to the surrounding waterfront areas. The Los Angeles proposal, on the other hand, would be located in the city’s University of Southern California-adjacent Exposition Park. Located along the city’s Expo Line light rail line and within proximity of the forthcoming Gensler-designed Los Angeles Football Club soccer stadium, the proposal would cap the slew of other cultural and entertainment destinations in the park. Despite the light rail proximity, the scheme includes a 1,800-spot underground parking garage that the San Francisco locale does not. Also unlike the San Francisco proposal, the Los Angeles scheme would include public open space on its rooftop. Renderings for the proposal show the museum located in a leafy, park setting with people lounging on the knolls surrounding the structure. For now, as always, the schemes continue to be just that: hopeful proposals. Time will tell if one or the other scheme gets selected for either city and, more importantly, if one eventually gets built. A decision regarding the location is expected to be made within the next two- to four-months.
Placeholder Alt Text

Studio Gang and OMA among architects competing to redesign Tour Montparnasse in Paris

A list of seven firms (three French and four international) have been selected by the Ensemble Immobilier Tour Maine-Montparnasse (EITMM) as part of the second round of a competition to redesign the much-maligned Montparnasse Tower in Paris. Built in 1973, the 690-foot (59 story) high-rise has been the regular subject of scorn from Parisians and architects alike. Now Dutch studio OMA; British practice, PLP; French architect Dominique Perrault, and Chicago firm Studio Gang among others are in the running to take on the tower's redesign. Known as the Tour Montparnasse, the building changed city planning policy after its completion 33 years ago. Buildings in the French capital were banned from rising above seven stories two years after it was constructed, a policy that has allowed the skyscraper to remain as Paris's tallest building. The full list of firms vying to re-imagine the tower can be found below: The list of seven came from a list of more than 700 firms that entered the first phase of EITMM's competition. In a press release, one stakeholder said the seven agencies were selected for their "reliability, expertise, audacity and their understanding of the challenges we face." Now the competition has briefed the chosen seven with submitting a proposal that will supply a "powerful, innovative, dynamic and ambitious new identity to the famous Parisian landmark, whilst integrating the challenges of usage, comfort and energy performance to the highest levels." These proposals are due in March 2017. The competition's third stage will see this list whittled down to two finalists from which a winner will be announced in July next year. The project is due to cost $326 million with one-third of this being privately financed by Tour Montparnasse's co-owners. Construction is set to start in 2019, being completed by 2023. Jean-Louis Missika, deputy to the Mayor of Paris, in charge of urban planning, architecture and economic development for the Greater Paris project, said: "We are delighted with this varied and audacious selection of architects which promises a great diversity of ideas, approaches, and innovations for the transformation of the Montparnasse Tower, the initial stage in the renovation of the whole area."
Placeholder Alt Text

MAD Architects reveal designs for China Philharmonic Hall in Beijing

Beijing-based MAD Architects has revealed plans for the design its latest project, the China Philharmonic Hall. The 286,000-square foot music hall is located on a 2.86-acre property in Beijing’s Central Business District and has been designed in collaboration with acoustics expert Yasuhisa Toyota in an effort to create a state-of-the-art music venue for China’s capital city. Toyota was also an acoustics designer for the Walt Disney Concert Hall in Los Angeles, the Philharmonie de Paris, and the Suntory Hall in Japan, and is known as a master in the field. The concert hall, surrounded on two sides by vegetation and a lotus pond, is designed to be approached through park areas and act as an urban refuge. In a press release from the firm, Ma Yansong, founder and principal at MAD Architects, describes the project as a place of respite in what is otherwise a hub of trade and commerce, saying, “We wanted to create a pure and sacred oasis in the midst of the bustling city.” He added, “From the moment you enter the building, you will be taken to another time and space.” Like many of MAD Architects’ recent projects, the building’s functional interior spaces—a 1,600-seat concert hall, a smaller 400-seat rehearsal hall, recording studio, library, gallery, offices, and rehearsal rooms—are all amassed together at the center of an otherwise airy and porous building. Flowing around the central building mass is a sinuous exterior facade made of translucent white panels that contain circulation and gathering spaces. The venue’s main concert hall is designed with a terraced seating arrangement made up of wooden platforms and is capped by a series of billowing white forms that are, according to the architects, inspired by the petals of the lotus flower. These surfaces will be used for projections during performances—all part of the effort to have a transformative effect on the venue's harried urban occupants. The project is scheduled to begin construction this year and is expected to be completed in 2019.
Placeholder Alt Text

MAD Architects transforms a house into a playful, airy kindergarten

Beijing-based MAD Architects has completed work on the new Clover House kindergarten, the firm’s first project in Japan. The project deconstructs an existing catalog home, peeling away everything except its structure in order to expand the building’s footprint. Located in the Aichi Prefecture of central Japan, the school is operated by a pair of brothers who wanted to establish a facility that could be as comfortable as a home. MAD Architects principal Ma Yansong cites this impetus as the project's driving force, explaining in a press release, “It was important to create a kindergarten that felt like a home, and give the kids the best possible house to grow up in, one that promotes their learning and creativity.” The new bulbous, faceted structure billows around the preserved structural frame, which is now an informal space divider. One corner of the new house swoops down as it meets a new catenary-arched entrance while a second-floor slide descends onto an expansive playground. The interior spaces of the school weave through and climb over the remains of the existing home, with staircases bringing classrooms and play spaces onto what would have been the roof of the existing building. As with MAD Architects’ recent Xinhee Design Center in Beijing, China, the designers were inspired by the analogous relationship between bones and flesh that the existing beams and new covering reproduce: The roughly-hewn beams of the existing house play against the smooth blonde wood and gypsum articulation of the new interior spaces. The new skin, soft with plaster, is punched through by geometrically-shaped windows flood that flood the interior with light. Outside, the monolithic exterior is clad in white vernacular asphalt shingles.
Placeholder Alt Text

MAD Architects reveals plans for Xinhee Design Center in Beijing

Beijing-based MAD Architects have revealed designs for a roughly 657,000 square foot (61,000 square meter) headquarters for Chinese clothing designer and manufacturer Xinhee Group. In their designs for the massive headquarters, the architects utilized the fashion group’s multi-brand corporate structure as a guiding principle, designing a six-lobed complex of buildings joined at a central atrium. Each lobe of the radially-organized plan houses one of the company’s six clothing brands, creating a unified whole from discrete working parts. In a meeting with AN last month, MAD Founding Principal Ma Yansong relayed the inspiration behind the center as a blend between pragmatism and nature, with many of the aspects of the building pulling double-duty socially and environmentally. For example, the central atrium—which connects the various arms and employees of the company—allows the group to host grand fashion shows while simultaneously acting as a massive solar chimney for the building. It pulls cool air from ground-level gardens up through the structure, carrying away heat and exhaust along the way. The structure’s sinuous floor plates seemingly dance around central cores contained within each of the six building sections. These floor plates vary in size and proportion across the complex, with some of the upper floors pulled back from the sloped facade, creating internal double- and triple-height spaces. The resulting array of stacked levels is clad in large sections of PTFE curtain wall panels that introduce dappled light. In the process, the PTFE makes the building appear lighter than it actually is. Yansong elaborated in a press release for the project, stating “It’s interesting for a building with such an intrinsically logical structure to look floating and free.” Though renderings for the project have just been released, the Xinhee Design Center is currently under construction and is expected to be operational sometime in 2017.
Placeholder Alt Text

Chicago battles to keep George Lucas from moving his Museum of Narrative Art elsewhere

The saga of the Lucas Museum of Narrative Art is nothing less than epic. The proposed museum has had the distinction of raising (or lowering) the dialogue of an architectural project to the level of personal attacks and federal court hearings in two cities. The project’s first proposed location on public land in San Francisco fell through when the city refused to lease the land to the would-be private museum. That was over two years ago. The next proposal was a complete 180-degree turn with a new design and location on the shore of Lake Michigan in Chicago. Since that proposal, the road has been anything but smooth, and now the entire project is threatening to move to another city, once again.

The first obstacle the project faced was the court of public opinion. Designed by the Beijing-based MAD Architects, the original iteration of the project was called “needlessly massive” and “jarringly off-key” by Chicago Tribune architecture critic Blair Kamin, and “defacing the city’s lakefront as much as any teenager with a can of spray paint” by Greg Hinz of Crain’s Chicago. That is not is to say that the museum has not had its proponents. Most notably, Chicago Mayor Rahm Emanuel has been outspoken in his support of bringing and keeping the museum in Chicago. (Many would say to a fault.) Other public figures have spoken in favor of the museum, including Civil Rights advocates Father Michael Pfleger and Reverend Jesse Jackson.

As MAD’s design developed, the building shrank in size and a more landscaped park by Chicago-based Studio Gang was added. This went a long way in appeasing those skeptical of the project, but it would not be enough to avoid the wrath of the museum’s most vocal opponent, Friends of the Parks (FOTP). The nonprofit public space advocacy group has taken its grievances to court, and so far has seen some success. In February, a federal judge agreed to hear the case, rejecting the city’s appeal to have it dismissed. FOTP’s argument is based on the Lakefront Protection Ordinance, which restricts and regulates building on lakefront. The ordinance states that its purpose is “To insure that the lakefront parks and the lake itself are devoted only to public purposes and to insure the integrity of and expand the quantity and quality of the lakefront parks.” The city argues that as the project has been approved by the Building Commission, the body that maintains the Lakefront Protection Ordinance, the project should be allowed to move forward.

In a response to FOTP’s lawsuit, advocates for the museum point out that the museum is planned to take the place of a 1,500-car parking lot for the NFL’s Soldier Field. This has led to an oft-repeated ad hominem nickname, Friends of the Parking (Lot). It has also been argued that all of the other museums along the lakefront, just north of the proposed site, are privately owned and run. These include the Art Institute of Chicago, the Field Museum, the Shedd Aquarium, and the Adler Planetarium—all of which have notably been started with private investment from individuals.

Now entrenched in a slow-moving legal battle, the 71-year-old George Lucas is getting anxious to begin building. With construction originally slated to begin in early 2016, and completion expected in 2018, a protracted court case is making the original plan unlikely. In what is being described as a last ditch Hail Mary to keep the museum from moving to yet another city, Mayor Emanuel announced an alternative location mid-April. The new plan calls for the demolition of the Gene Summers and Helmut Jahn–designed McCormick Place Lakeside Center. The much-derided modernist convention center is part of the larger McCormick Place Convention Center and has a lease for the lakefront location through 2042. Part of the appeal of the original proposal was that Lucas was going to cover the $750 million cost out of his own pocket. It is estimated that demolishing Lakeside Center and moving the convention space into a new space would cost an additional $1.2 billion. This would involve some fancy finance work, the extension of a handful of taxes currently due to expire, and the involvement of the state legislator. If only for the reason that the Illinois state government is intractably locked in partisan gridlock, unable to make any financial decisions, most are calling this plan a long shot.

Shortly after the new site was proposed, FOTP announced that they would oppose any building on the lakefront, even if it was on the current site of the McCormick Place. In response, Mellody Hobson, a native Chicagoan and wife of George Lucas, released a statement blasting FOTP and announcing the couple was actively searching for new sites outside of Chicago. She closed the statement with, “If the museum is forced to leave, it will be because of the Friends of the Parks and that is no victory for anyone.” 

Subsequently, the City of Chicago requested that the FOTP lawsuit be thrown out by a federal appeals court on emergency grounds. The city is arguing that the normal appeals process would take too long, and the museum would most likely be relocated before the matter could be settled. 

Placeholder Alt Text

See Iwan Baan’s stunning winter photography of MAD’s Harbin Opera House in Northeast China

Braving temperatures as low as -22°F, Iwan Baan is no stranger to shooting in the extreme. Armed with his camera, tripod, and Canada Goose Parka, the esteemed Dutch architectural photographer has produced a series on Beijing-based MAD Architects' Harbin Opera House in China's Northernmost province.

His work, unlike most in the industry focuses on people, not buildings. "My pictures are always very much about the users of the place," Baan says in a film covering the shoot. "I'm not trying to create timeless images which could be in any moment in time. They always should very much have a connection to a specific place, time, people, a context, a culture and this kind of thing."

https://www.youtube.com/watch?v=xzvG8D-PI5M

"So people are, in that sense, a very important part," he explains. However, despite the alternative choice of focus, his work still conveys the fluid curvature of MAD's Harbin Opera House. Cast against a snow-white sky, the meandering white aluminum panels can be seen elegantly rising from the snow.

In this medium, the building's intentions of emulating the sinuous nature of its marshy surroundings and adjacent frozen riverbank are well and truly achieved. Even among fading light, the opera house's relationship with the site remains intact through Baan's lens from both interior and exterior perspectives.

“Harbin is very cold for the most of the year, so I envisioned a building that would blend into the winter landscape as a white snow dune arising from the wetlands,” says Ma Yansong, principal architect and founder of MAD Architects.

“Opera design normally focuses on internal space, but here we had to treat the building as part of its natural environment—one outside the urban context,” Yansong adds.

Traditionally, opera house photography evokes silent spaces, that, by contrast are designed to be anything but. Here, the acoustic properties of the space embedded within the theatrical grandeur are enhanced. With his uncanny habit of seeing things differently, Baan however, captures crowds on their feet in rapturous applause. Outside he shoots tourists, dog walkers, and local ice fishers setting an enlivened scene.

Purist's needn't worry though, as shots without any intrusive people also feature.

In related news, MAD has released a video showcasing their Invisible Border Installation for the Interni's Open Borders exhibition at the 2016 Milan Design Week. A descending veil, comprised of translucent polymer strips can be seen fluttering in the wind as it is loosely held in an undulating form, suspended from the Loggia of the Cortile d’Onore.

https://www.youtube.com/watch?v=CwYvelwAlc4