Mexico has a unique architectural and artistic culture that spans generations and decades. It's is a combination of a powerful indigenous vernacular created when the Spanish met the native peoples, sophisticated European designers immigrating to the country, and a long period when it was cut off from the international flow of capital and ideas. But now a new generation of young architects is redefining this tradition in the most creative and exciting ways. One of those young designers—Frida Escobedo—is in New York and will be presenting her work at the Swiss Institute on Saturday. Escobedo will discuss her recent work and overall practice with Beatrice Galilee, associate curator of architecture and design at the Metropolitan Museum of Art. Escobar founded the studio Perro Rojo with Alejandro Alarcón in 2003, and, since 2006, has worked as an independent architect. She has said of her work, "In sum these don't pretend to announce any form of grandeur, but rather expose their minutia. They are nothing more and nothing less than substrates, processed through participation, their means of production never finished, always turning anew, lineworks and lattices buried beneath a deep tissue of milieu and event." It all happen at the Swiss Institute in Soho at 18 Wooster Street on Saturday, November 8 at 4:30p.m.
Posts tagged with "Mexico":
A new international airport for Mexico City won't just fix the problems of its predecessor—which typically delays planes because the two runways were built too close together—it will be unique in its efficient expansive single enclosure, according to its architects, Foster + Partners and FR-EE. Foster and FR-EE were announced as the winners of a design competition last Tuesday, in which all the finalists had worked with local design talent. Mexico City-based FR-EE's founder Fernando Romero is married to Soumaya Slim, a daughter of Mexican tycoon Carlos Slim. The new airport, which aims to become the busiest in Latin America, has received a $9.17 billion pledge, partly in public land from President Enrique Peña Nieto. The government will finance its early construction, issuing bonds for later stages of development. Officials estimate Mexico will receive $19.6 billion in additional tourism revenue through 2040 as a result of the new airport. It will accommodate more than 100 million annual passengers. At more than 6 million square feet, the new airport will be one of the world's largest. It's also labeling itself the most sustainable. While still a complex committed to promoting air travel, a substantial contributor to global emissions of carbon dioxide, its layout is intended to be entirely walkable and won't need heating or air conditioning for most of the year. Foster + Partner's website said the project will be LEED Platinum:
The entire building is serviced from beneath, freeing the roof of ducts and pipes and revealing the environmental skin. This hardworking structure harnesses the power of the sun, collects rainwater, provides shading, directs daylight and enables views—all while achieving a high performance envelope that meets high thermal and acoustic standards.Organized around a single massive enclosure, the airport weaves cavernous, naturally ventilated spaces around an organic "X" shape that appears in plan like a cross section of DNA. The lightweight, pre-fab structure will open its first three runways by 2020. Another three runways, set to open by 2050, will quadruple the airport's current capacity. Mexico City's current airport, Benito Juárez International, will eventually be closed and rehabbed into a commercial development and public park. The design competition that preceded this week's unveiling drew high-profile names, including Zaha Hadid, Richard Rogers, and Pascall+Watson. Mexican-American architect and partner at JAHN, Francisco Gonzalez-Pulido, also submitted a design to the competition, but was ultimately unsuccessful. He teamed up with local designers Francisco Lopez-Guerra of LOGUER and Alonso de Garay of ADG for the airport, whose form evokes both flight and traditional Mexican art. A pyramidal arrangement of structural white "umbrellas" transmit light while shielding occupants from the hot Mexican sun.
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!
On View> "Mixtec Stonecutting Artistry: 16th Century Ribbed Vaults in Mixteca, Mexico" Opens August 24
Mixtec Stonecutting Artistry: 16th Century Ribbed Vaults in Mixteca, Mexico HGA Gallery Rapson Hall, Goldstein Museum of Design, University of Minnesota 89 Church Street SE, Minneapolis, MN August 24, 2013 to October 13, 2013 Sixteenth century Mexico was home to buildings of extraordinary construction quality erected for the thousands of people converting to Christianity. Indigenous craftsmen utilized the most sophisticated technology and their profound understanding of locally accessible materials in an intricate system of symbiosis to collaborate with Spanish architects who were experienced with the architecture of the ribbed vault. Employing Mixtecan masonry techniques and European geometry, they collaborated to construct three churches in the Mixteca region of southern Mexico with sophisticated geometrical vaults unique to 16th century America. Through digitally scanning San Pablo Teposcolula, Santa Domingo Yanhuitlán, and San Juan Bautista Coixtlahuaca, researcher and guest curator Benjamin Ibarra-Sevilla, Assistant Professor of Architecture at the University of Minnesota’s College of Design, was able to produce scale replicas of each gothic dome. Mixtec Stonecutting Artistry: 16th Century Ribbed Vaults in Mixteca, Mexico, on view from August 24 to October 13, 2013, reveals the complex digital scanning, documentation, and three-dimensional modeling that facilitated the research and replication of the rib vaults in the late 20th century.
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.
At its 37th session held from June 16 to 27, 2013 in Phnom Pehnh and Siem Reap-Angkor, Cambodia, the UNESCO World Heritage Committee added 19 sites to the World Heritage List. The new additions bring the list to 981 noteworthy destinations. To be included on the World Heritage List, sites must be of exceptional universal significance and satisfy at least one out of ten selection criteria, which are frequently improved by the Committee to reflect the advancement of the World Heritage notion itself. The following cultural sites have been inscribed on the World Heritage List. · Al Zubarah Archaeological Site, Qatar · Ancient City of Tauric Chersonese and its Chora, Ukraine · Bergpark Wilhemshöhe, Germany · Cultural Landscape of Honghe Hani Rice Terraces, China · Fujisan, Japan · Golestan Palace, Iran · Hill Forts of Rajasthan, India · Historic Centre of Agadez, Niger · Historic Monuments and Sites in Kaesong, Korea · Levuka Historical Port Town, Fiji · Medici Villas and Gardens in Tuscany, Italy · Red Bay Basque Whaling Station, Canada · University of Coimbra – Alta and Sofia, Portugal · Wooden Tserkvas of the Carpathian Region, Poland & Ukraine · El Pinacate and Gran Desierto de Altar Biosphere Reserve, Mexico · Mount Etna, Italy · Namib Sand Sea, Namibia · Tajik National Park, Tajikistan · Xinjiang Tianshan, China
The U.S. Department of State has announced that Tod Williams Billie Tsien Architects and Davis Body Bond will team up to design a new Embassy Compound in Mexico City. The husband and wife team has been riding an enormous wave of praise for their recently opened Barnes Foundation Museum in Philadelphia, but just when you thought the last of the praise was proffered, in comes Martin Filler's rave in this week's New York Review of Books ("wholly unexpected," "ravishing," "dazzling"). That should give critics a breather till the duo's University of Chicago Logan Center opens this fall. In the mean time, the next twenty months will be focused on working with Davis Body Bond designing the new embassy, with a construction contract to be awarded in 2015. The selection is the first under the State Department's new Design Excellence program.
If opponents of New York's bike lanes think bikers get the upper hand, then they'd be stunned to see what TEN Arquitectos has planned for the main drag of Villahermosa, the capital of Tabasco, Mexico. Of course, accommodating bikes is only a small part of what is intended to overhaul the city's spine including an eye catching pedestrian bridge anchoring the project. The perforated, metal-clad boomerang of a bridge links two lakeside parks, the Tomas Garrido Park and Lake of Illusions. At street level the illusion takes hold as the bridge morphs into the shape of a giant alligator. A large amphitheater sits at its base with the park serving as backdrop. The project is set for dedication next week.
TEN Arquitectos have shared renderings of a museum project that Enrique Norten is working on in the historic center of Puebla, Mexico. The Amparo Museum sits in the heart a colonial quarter and though building envelope will retain its old world charm, a very new world facility will emerge inside. The museum is comprised of four structures dating from 17th and 18th centuries and for that reason its hard to imaging a project like this sailing through a historic commission in the States. But Norten said that it's no cakewalk in Mexico either, though they don't have community boards to contend with. "It's super tough. It's what we call the historic patrimony. All pre-Colombian through the 19th century, all are protected" he said. But the architect and his crew were able to argue that an intervention from fifty years ago left a large portion of the building open for reinterpretation. Like the new addition, the collection and temporary exhibits bring together old and new, with the pre-Columbian art rubbing shoulders with contemporary installations. The museum has also developed a bit of a reputation for using technology as a teaching tool, but their digital approach has grown a bit stale over the years. The renovation should bring them back up to speed. "We’re going to be using screens, computers, videos. All kinds of new media will be integrated," said Norten. The new addition will occur over the course of five years and the museum will remain open. A series of four courtyards have allowed the architects to float much of the needed space within the existing structure without interrupting much of the historic fabric. "You have to find areas to bypass or where there are certain opportunities," said Norten. The fifty-year-old intervention allowed for the more drastic changes, which made room for a large auditorium and cafeteria. Though integrating new buildings behind old facades has become a trend in New York, Norten said the process is old hat South of the Border. "We have been doing this for years in Mexico, because we have a vast stock of older buildings."