On September 29, CENTRO, a Mexico City university that specializes in creative studies, inaugurated a new campus designed by Enrique Norten of TEN Arquitectos. Located on Avenida Constituyentes, not far from Chapultepec Park, Norten's new campus packs an interdisciplinary mix of interior architecture, film, industrial design, and digital media programs into 78,700 square feet. Landscape architecture firm A Pleno Sol worked with TEN Arquitectos to add some 27,000 square feet of landscape and planted roofs. The 2,500-student CENTRO was founded in 2004 by Gina Diez Barroso and Abraham Franklin and focuses on the intersection of the creative, business, technology, and science fields. The opportunity to design a complete new campus is rare enough, and Norten, who has designed other university buildings for Rutgers University, the Universidad Panamerica, and CIEAX, was honored to receive the Centro commission. “It is an amazing location, across from the park, right in the center of the city and our new big train station is coming in very close by, so it will be one of the best connected universities,” said Norten. While the campus has expansion plans to accommodate up to 6,000 students, it is, according to the architects, also one of the first campuses built to LEED Platinum standards. Norten’s design embraces a Bauhaus-like program, where four building volumes intersect and connect to bring together all departments and programs. The heart of the campus is an exterior 10,000 square-foot monumental stair designed in collaboration with Mexican artist Jan Hendrix. Stairs are a dominant feature of the campus, according to Kerstin Scheuch, general director of CENTRO. “The different ways to go up and down and around it does something in your mind that there is not just one way,” she explained. “There are so many ways to circulate in this building and I think that is hugely important about how we feel about the program and opens up the communication among people.” Other amenities include a 400-seat, state-of-the-art auditorium and a 7,000-square-foot interior courtyard that links classroom and office buildings. An intentionally minimal palette allows students to “make the building their own,” according to Scheuch. Students from all disciplines are invited to participate in the evolution of the campus. For now it is most evident in the signage and graphics on the building and benches that line the main courtyard. Founder Gina Diez Barroso believes that the design of the new campus contributes to Centro’s pedagogy. “Everything connects because the curriculum is interdisciplinary and multidisciplinary,” she noted. “I think the more they live in it the more they will want to interact.” Scheuch agreed, “All things creative can happen here.” For Barroso, the creative spark happened eighteen years ago when she first met the architect. Norten was part of the conversation about the school from the beginning vision. “I think this project was much more than an architectural project for Enrique, it was like his baby,” she explained. “He is actually a shareholder in CENTRO; he is my partner and my friend and he believes in everything we are going to do.” Norten is the also the recipient of the 2015 Neutra Award Medal, which will be presented by Cal Poly Pomona on October 26.
Posts tagged with "Mexico City":
Fernando Romero has a plan to green Mexico City with the Cultural Corridor Chapultepec, a park-like linear thoroughfare
Avenida Chapultepec in Mexico City began as a road for Aztec emperors. Over the years the broad boulevard, which leads from the old Colonia Centro to Chapultepec Park, hosted an aqueduct and the city’s first electric tram. But the 20th century wasn’t particularly kind to the thoroughfare. Pounded with traffic and gray with diesel soot, it no longer represents the aspirations of a contemporary Mexico City. But that might change. FR-EE, the Mexico City–based architecture practice headed by Fernando Romero, recently proposed a multimodal greenway to replace a section of Avenida Chapultepec. FR-EE’s proposal, the Cultural Corridor Chapultepec (CCC), remakes a 0.8-mile stretch from Chapultepec Park down to the free-for-all circular junction at Glorieta de los Insurgentes. According to the office, the two-level boulevard will have lanes specifically dedicated to bikes, skaters, wheelchairs, strollers, cars, and buses, with a central promenade for pedestrians. "This project will organize the surroundings, will double the green areas, will enhance connectivity and will celebrate the cultural diversity of the city," Romero explained in a press release. Renderings show a lush upper level promenade planted with shade trees and High Line–like foliage. Cafes and other retail spaces dot the new landscape. The proposal leans toward climate-sensitive features. The hope is that plantings will mitigate the intense “heat island” effect of a long, open surface in the middle of the city. Rainwater will be collected and recycled for irrigation and there are plans to provide solar cells for electricity. A proposal at this scale is somewhat of a departure for Romero, who works with expressive architectural form more than urban fabric. The architect, best known for his sleek and gestural Museo Soumaya, is currently working with Foster + Partners on the Mexico City International Airport. However, the design reflects the global influence of placemaking combined with infrastructural urbanism—a sustainable tonic that could benefit a super dense metropolis like Mexico City. https://vimeo.com/136617965
Centro, a Mexico City–based design and film school, has just announced that Enrique Norten of TEN Arquitectos has been chosen to design a new expansion to its existing campus. Norten claims his design encompasses “Centro’s dynamic and inclusive atmosphere, with sustainable LEED structures, maximum accessibility between all facilities, optimal access to public transportation services and a central public park in a key urban development zone.” In addition, his plan will combine “interior studios and outdoor work areas” that will offer a variety of learning environments, allowing for fluid teaching methods and cross pollination between disciplines.” Built on Mexico City’s Avenida Constituyentes, the campus will feature a multifunctional auditorium and dramatic exterior staircase built by Dutch-born, Mexican-based artist Jan Hendrix, a four-story media library, a state-of the-art film studio and a series of workshop studios.
Known for their playful, cutting-edge facades, Rojkind Arquitectos are adept at transforming obstacles into opportunity. Founded in 2002, the Mexico City–based practice is regularly challenged with delivering a sense of cohesion to unplanned urban chaos. As the literal and metaphorical mediator between a building's interior and its context, the envelope is a crucial starting point for any such endeavor. "Our first approach is through digital design and local fabrication, depending on the geography of the project, time, budget, etc.," explained founding partner Michel Rojkind, fresh from the July 7 groundbreaking of the firm's Foro Boca concert hall in Veracruz, Mexico. "We research local craftsmanship to enhance the final results." Besides considering the more pragmatic elements of design and execution, said Rojkind, "We also try to question what a facade is, in terms of performance or how it can produce other areas that blur the line between building and [exterior]." For him, the most intriguing question facing contemporary designers and fabricators is: "How can facades bring added value to the project—not only in economic terms, but also as social innovation?" Rojkind will deliver the opening keynote September 10 at Facades+ Miami, the South Florida debut of the popular conference series on high performance building enclosures. Speaking of architectural conditions in the conference's host city, Rojkind—himself an old hand at designing for a hot, sunny climate—said, "I think there are great opportunities to really push for interior/exterior living connections and blur those boundaries. [We can] learn from the past while embracing future social interactions as a design [guide]." Hear more from Rojkind and other movers and shakers in the AEC industry, and participate in exclusive local field trips, at Facades+ Miami this fall. For more information or to register, visit the conference website.
Leave it to a pair of Brazilian architects to use reinforced concrete to reinvent small-scale urbanism. While North American designers turn to plywood and recycled palettes to create curbside seating, architects Fernando Falcón and Rodrigo Cerviño of the São Paulo–based practice TACOA Arquitetos shopped for rebar. Entitled Jardineira, Falcón and Cerviño’s installation is a cantilevered concrete planter and bench located on the busy Insurgentes Avenue in Mexico City. The work sits outside the architecture gallery LIGA, Space for Architecture on one of the city’s major thoroughfares. Founded in 2011, the gallery focuses on primarily on Latin American practices and Jardineira is the first time that an exhibition has left the 172-square-foot venue and directly addressed the street condition. The concrete installation mimics the existing street furniture, but with one exception: it tilts, seemingly dislodging itself from the sidewalk. “I knew it would be good when they wanted to bring in a structural engineer,” said architect Wonne Ickx, co-founder of LIGA and the architecture firm Productora. An emerging firm, TACOA believes that any work of architecture should serve as a pretext for interacting directly with the city. As their installation illustrates, they do this without abandoning disciplinary rigor or a formal language. The pair ground their work in the teachings of the Paulista School, the mid-century group of Brazilian architects that included Pritzker Prize–winner Paulo Mendes da Rocha and João Batista Vilanova Artigas. Designs from both architects are included in the current MoMA exhibition Latin America in Construction: Architecture 1955–1980. While most would associate Brazilian architecture with the swoops of Oscar Niemeyer, the Paulista School embraced the grittier side of architecture with chunky, exposed concrete buildings. Similarly, Falcón and Cerviño find inspiration in the frictions and imperfections of urban life. Jardineira is on view at LIGA through August.
Mexico City's posh Polanco neighborhood is now home to the recently redesigned Living Rooms of the W Mexico City. Part of a larger $100 million campaign to update its hotels across North America, the W asked New York City–based nemaworkshop, a firm that has been known to—quite literally—turn design on its head, to bring a sense of mystery and illusion to the hotel's common spaces. Guests are greeted by a translucent and inverted glass pyramid as soon as they enter the lobby, which holds secret messages that can only be seen at night. Surrounding the pyramid, a ring of seats take the form of eerie masks when seen from the rear. In a VIP lounge nearby, colorful laser-cut screens provide privacy while maintaining a connection with the larger space and surrounding neighborhood through an expansive glass facade. At the central bar, guests can look up to a ceiling of shifting waves generated by the reflective surfaces covering the ceiling, meant to give the illusion that one is in the midst a sea of moving water. Elsewhere, an unexpected tequila bar is set inside a dimly-lit bathroom. Reflective surfaces are paired with natural stones, rippling metals, and sleek geometric walls and carpets to create a series of visual effects throughout the new space. The lobby, which had not been updated since 2001, is now filled with colorful artwork and puzzling arrangements that pay homage to Mexico City’s rich history and create a series of illusions for visitors. Nemaworkshop is also working on updating the hotel's guestrooms, which will be revealed later.
It’s a battle of the starchitects in Mexico City—and the Brits are leading the pack. Out of the seven finalists short-listed to design an expansion for the capital city's airport, Benito Juarez International, four hail from the UK: Zaha Hadid, Norman Foster, Richard Rogers, and Pascall+Watson. They are joined in the final round by Teodoro González de León with Taller de Arquitectura X, SOM, and Gensler. All of these teams are being led by Mexican practices, and construction could begin later this year. The multi-billion dollar expansion should accommodate 40 million annual passengers at over 70 new gates. The airport's current cheese-grater-like facade in Terminal 2 was completed by Serrano Arquitectos in 2008. The envelope's many circular windows are used to maximize natural daylight within the terminal year round. [Via Architects' Journal]
Francisco Saavedra fabricates a template to scale with large-format, Designjet printers from HP.Founded in 2002, Rojkind Arquitectos is leaving an imprint across its native Mexico through a combination of civic, retail, residential, and hospitality projects. Its innovative design and production methods have garnered international recognition, particularly for projects like Nestlé's Chocolate Museum is in Toluca and innovation lab in Querétaro, and Mexico City’s Tori Tori Japanese restaurant, but the firm also engages in smaller projects and creative diversions that explore new avenues of the design/build process. Casa del Arbol is one such example. Conceived as an add-on for a venerable client, the project is a tree house for the family’s three young daughters. “There was a bird’s nest in the garden when we visited the site,” said Gerardo Salinas, partner at Rojkind. “And a 2-meter space between two trees in the yard was an ideal location that wouldn’t damage the existing trees.” The tree house is composed of three main cocoons in concentric circles making up a clover shape that provides a private play space for each girl. Working in Rhino, the architects emulated the geometry of a bird’s nest by magnifying the twig components into larger branches of wood. At one point, Salinas said the team considered Corian for the entire structure, but wood was a better logistical choice as LED lighting, power, and data were integrated into the design. Final Rhino files were converted to AutoCAD and sent to a large-format HP Designjet T920 printer. Templates were printed on paper in a 1:1 ratio, and used to cut the forms out of MDF. These hard templates were then laid over wood planks to fabricate the final ribs. The architects chose the wood of the Salam tree because it is certified to originate from a regulated forest, an assurance that Salinas said is not easy to find in Mexico. The timber variety also weathers well against the elements and is sealed with wax for added durability. To install Casa del Arbol, Salinas forewent the predictable wood-and-nail method. Steel plates attach to the ribs with stainless steel screws to prevent rotting. This self-securing method also gives the structure an appearance of floating within the trees and reduces direct impact. For privacy and comfort, panels of treated fabric will be secured to the vertical ribs.
With only one month remaining before Facades+ PERFORMANCE opens in Chicago, our exciting lineup of the industry’s leading innovators is gearing up for an electrifying array of symposia, panels, and workshops. Be there for this groundbreaking, two-day convergence of design and construction professionals, presented by AN and Enclos, coming to Chicago, October 24-25th. Join Chris O’Hara, founding Principal of Boulder-based Studio NYL, for his day-one symposium, “Ludicrous Speed: the Design and Delivery of Non-traditional Facades on a Fast Track,” and learn first-hand from the experts the technologies and fabrication techniques that are revolutionizing the next generation of high performance facades. Register today to redefine performance for 21st century architecture, only at Facades+ PERFORMANCE. After graduating with a B.S. in civil engineering from the University of Notre Dame, Chris O’Hara began his career in New York with M.G. McLaren Consulting Engineers, where he was confronted with a host of unique structural engineering projects, from amusement park rides to New York’s Rose Center for Earth and Space at the American Museum of Natural History with Ennead Architects. Things really got going for O’Hara when he joined up with London-based Dewhurst Macfarlane Partners and began to work closely with visionary architect Rafael Viñoly. Leading high-profile projects like Viñoly’s David L. Lawrence Convention Center in Pittsburg and the Watson Institute for International Studies at Brown University in Providence, Rhode Island, O’Hara developed innovative structural solutions that allowed for the pioneering architect to exercise the breadth of his architectural expression. In 2004 O’Hara relocated to Boulder, Colorado to launch his structural engineering firm, Studio NYL, who have since become renowned for their diligent application of emerging technologies and inventive structural solutions. Their adventurous, detail-oriented work has drawn the attention progressive architects, both local and global, while O’Hara’s integration of multiple design software programs and use of complex geometries made him a literal poster-boy for Autodesk. In his daily practice, O’Hara oversees the use of BIM and other advanced analytic technologies and leads the design of innovative forms in BIM, REVIT, and direct-to-fabrication CAD/CAM softwares. Collaborating with fellow Facades+ presenters Rojkind Arquitectos, O’Hara has pushed the boundaries of structure and design on pioneering projects like the aluminum and glass enclosure of the Cineteca National and the digitally fabricated metal skin of Liverpool Flagship store in Mexico City. Designed and built in little over a year, the Liverpool Flagship store is a stunning product of international collaboration, technological instigation, and fast-paced delivery. Studio NYL lead the design for the structural elements of the atrium, rooftop park and pavilions, skylight, and stainless-steel facade for the 30,000 square meter shopping center. Using BIM software to coordinate the work of multiple trades on complex geometries, Studio NYL and Rojkind Arquitectos constructed the fluid folds and fine reliefs of the shopping center’s sound-blocking double-layer facade. Learn more about the secrets to delivering innovative, high-performance building envelopes on a tight schedule as O’Hara presents a series of dynamic new projects in his afternoon symposia, and don’t miss out as frequent-collaborator Gerardo Salinas, principal of Rojkind Arquitectos, presents his exciting keynote address earlier that day! Register now to cash in on our Early Bird Special, and check out the rest of the groundbreaking schedule of events at the full Facades+ PERFORMANCE site. See you in Chicago!
Architectural photographer, Adrian Wilson, shared this photo with AN that he snapped during a photo shoot in Mexico City today. The routine work day, this time at Casa Palacio for Jeffrey Hutchison & Associates, was abruptly interrupted by a magnitude 6.1 earthquake epicentered some 250 miles outside the Mexican capital. It was once instance, the usually-steady Wilson said, when he "couldn't avoid camera shake…" According to news reports there was no major damage or injuries reported from the tremor.
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A double-layer steel lattice transforms a former residence into a Japanese eatery’s new home in Mexico CityWhen Mexico City-based architect Michel Rojkind was chosen as one of the Architectural League’s Emerging Voices lecturers in 2010, he already had a lot of work under his belt. His firm, Rojkind Arquitectos, had recently completed Nestlé’s factory and chocolate museum in Querétaro and was beginning work on a 54-story mixed-use tower on Mexico City’s chic Paseo Reforma. But in spite of big-name projects, the architect who started out as a rock-and-roll drummer maintained a connection to the fabrication of his projects, collaborating with local workers and using simple components instead of employing more complicated techniques. “I joke with my Swiss architect friends that I wouldn’t know how to work in Switzerland, where everything is perfect,” he told AN in a May 2010 interview. “You have to figure out ways to make things happen here, and it inspires me.” A testament to that inspiration, Rojkind’s new Tori-Tori restaurant employs a double-layer steel lattice to transform an existing residential structure in Mexico City’s rapidly changing Polanco neighborhood. Rojkind's firm worked with industrial designer Héctor Ersawe to plan the new 6,800-square-foot location for Tori-Tori, a popular Japanese eatery and one of many restaurants that moved or expanded into the recently rezoned Polanco area. Though some establishments have opted to simply hang out a shingle advertising their new presence, Rojkind's team wanted to create an entirely new environment that would tie the restaurant's interior to the outdoors. The new steel facade was digitally designed to mimic the vegetation that covers the project's retaining walls. Outside floor-to-ceiling glass, the grid structure wraps the south and west elevations of the restaurant. It extends from the ground to the roof in a pattern designed to give diners a view of outdoor patios while casting shadows on the interiors depending on the time of day. The facade's self-supporting layers are made with CNC-cut, thin-gauge steel plates that were welded in place on site and hand-finished by a team of nearly 40 local metalworkers. Slightly offsetting the layers and painting them two tones of gray add to the illusion of movement, and, lest diners forget they are not just enjoying a meal in a neighbor's lavish courtyard, blue LEDs positioned between interior and exterior layers add a touch of electricity to the air.
Mexico City's new Museo Soumaya (named after the deceased wife of Carlos Slim, the Mexican billionaire who owns the museum) was finally unveiled to the public late last month. The museum houses 60,000-square-feet of continuous exhibition space spread over six levels and containing over 6,200 pieces from Slim's art collection. Designed by Fernando Romero of the firm FREE, the building is shaped like a woman's bustier with a cinched waist. The amorphous structure is built with 28 curved steel columns of varying diameters, each with its own contoured geometry. While the exterior mass resembles a singular object, the skin is comprised of thousands of hexagonal aluminum modules. While the building itself is almost opaque--it has no windows--the roof of the top floor is suspended from a cantilever, letting in natural light. The result is a monumental parametric design offering a dramatic sculptural addition to the city once celebrated for its tradition and hand-painted, colorful architecture.