Posts tagged with "MOS Architects":

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Passive-Aggressive design: When sustainability radically shapes architecture

This article is part of  The Architect’s Newspaper’s “Passive Aggressive” feature on passive design strategies. Not to be confused with “Passivhaus” or “Passive House” certification, passive design strategies such as solar chimneys, trombe walls, solar orientation, and overhangs, rely on scheme rather than technology to respond to their environmental contexts. Today, architects are more concerned with sustainability than ever, and new takes on old passive techniques are not only responsible, but can produce architecture that expresses sustainable features through formal exuberance. We call it “passive-aggressive.” In this feature, we examine three components—diagram, envelope, and material—where designers are marrying form and performance. We also look back at the unexpected history of passive-aggressive architecture, talk with passive-aggressive architects, and check out a passive-aggressive house. More “Passive Aggressive” articles are listed at the bottom of the page!

Diagram

The promise of architecturally considered, environmentally conscious buildings that are more than exercises in technological prosthetics is taking shape around the world. Sustainable design can be achieved without subjugating space, form, experience, and aesthetics, concepts that often end up subservient to green concerns. Even offices are moving beyond the often-gauche addition of solar panels and sun shades to typical building typologies. To do so, form is playing an important role in achieving sustainability goals, and a new crop of spatially and formally exuberant projects is being realized. The result is a series of buildings that neither perform—or look—like anything we have seen before.

Perhaps the best test of a project’s sustainability aspirations is an extreme climate. Drastic temperature changes, remote locales, and inhospitable landscapes call for more than technological gadgetry to produce even a habitable project. Deserts in particular present challenges that push conventional designs to their limits. When New York firm WORKac began designing a guesthouse in southern Arizona with the goal of being completely off the grid, it looked to the southwest Earthship typology to start. Earthships are passive solar homes that use a combination of natural and upcycled materials embedded in the earth to create a thermal mass that keeps their interiors cool during the day and warm at night. WORKac took some of these concepts and elevated them into a unique architectural form. A simple diagram, the heart of the project is an adobe brick mass, upon which airy living spaces are cantilevered above the ground.

New York–based MOS Architects engaged the desert climate in its Museum of Outdoor Arts Element House. A guesthouse and visitor center for the Star Axis land art project by the artist Charles Ross, the project hovers just above the New Mexico desert on stout concrete piers. The house, designed to be off the grid, is built out of prefabricated structural insulated panels. By distilling the project down to its basic architectural components, a theme among many MOS projects, a clear yet expressive geometric system governs its overall shape. Rather than a central hearth, a series of modules each has its own solar chimney. The result is a naturally lit interior without excessive glazing to increase solar gain. A reflective aluminum shingle cladding counters even more of the sun’s intense rays while also playing visual games with the overall form. Views out of the project are captured through deeply inset operable glass walls at the ends of each module. The only typical sustainable technology visible is a solar array folly, situated just a few yards from the building.

On the other side of the world in another desert climate, Zaha Hadid Architects supersized its sustainable efforts. The King Abdullah Petroleum Studies and Research Center (KAPSARC) was founded in 2010 by its namesake as an independent, nonprofit research institution to investigate the future of energy economics and technology. KAPSARC will bring together researchers and scientists from 20 nations into one planned community in Riyadh, Saudi Arabia. Currently under construction, KAPSARC will become the main building of the campus, while formally being a campus within itself. An aggregation of six-sided plant-cell-shaped spaces, the project is a series of conditioned and unconditioned laboratories, conference rooms, lecture halls, and courtyards. Thanks to the office’s mastery of parametricism, angles, openings, and surfaces are cleverly utilized to manipulate sunlight, blocking it or allowing it into the advantage of the occupants. The modules also permit future expansion while maintaining the overall form and performance. The complex interlocking forms, and green-water-filled courtyards passively cooling surrounding spaces, echo traditional Arab courtyards buildings.

While designers strive to capture and control sunlight in the desert, in more northern climates it can be a scarce resource that is protected by code. In a city like Toronto, which averages six months of regular snowfall, new buildings can be required to allow sunlight to hit the sidewalk for portions of the day. For large projects like Bjarke Ingels Group’s (BIG) King Street development, sunlight, views, and greenspace were calculated using the latest in super-computer simulation modeling. Though the pixelated project will resemble the early diagram-driven ones from Ingels’s days with PLOT, such as the Mountain Dwelling project, King Street will be undeniably more complex. Within BIG, a smaller studio called BIG Ideas works in collaboration with Microsoft to develop predictive modeling tools for direct use by the designers. “All of the hill heights are determined by the sun and site,” Jakob Lange, BIG partner, explained. “Big Ideas created a tool for the design team to use to generate the formation of the hills. On the sidewalk, you need at least a certain amount of sunlight. The only way you can do that is to have a machine that can test every point.” The result is a seemingly haphazard stack of blocks that allow copious light and air into each unit and terrace, as well to streets and public courtyards. 

Whether through high-tech computer modeling or low-tech desert vernacular, passive sustainable design is turning a corner. No longer an afterthought, environmental considerations have stopped holding projects visually captive. With improved agency, architects are striking a delicate balance between formal, spatial experience and sustainable considerations.

—Matthew Messner

Envelope

Be aggressive and show off your passive sustainability strategy facade first.

Bates Masi Architects’ Amagansett Dunes home, a modest cottage a few hundred feet from the ocean on the South Shore of Long Island, is covered on its east and west sides with operable glass. Different-sized adjustable openings create a pressure differential that promotes natural ventilation. To modulate light through these surfaces, the firm installed canvas louvers that admit cool breezes in the summer and block cold winds in the winter.

Each tapered louver is cut from one piece of canvas and wrapped around a powdered aluminum frame, its riveted strips slightly twisted to increase their transparency. The canvas pattern, which was developed through several digital and physical models, casts dappled light and dramatic shadows throughout the house and creates a lantern effect at night.

Another dramatic facade is located at Carrier Johnson + Culture’s Point Loma Nazarene University in San Diego. The concrete project has achieved LEED Gold certification through a number of sustainable solutions—from drought-resistant landscaping to smart solar orientation—and is lined with a curved, south-facing stainless-steel screen that reflects solar heat while allowing in natural light. A concrete roof overhang provides additional shading for the building and an adjacent outdoor walkway serves both as a pedestrian connector and a sort of double-layered facade. A new public plaza fronts the other side of the wall.

The wall’s staggered, water-jet-cut steel panels are unique: Each one contains a gap to allow air and views and is connected to a series of steel posts. The screen’s design makes subtle references to the religious campus, employing alpha and omega symbols, images from the cosmos, and other abstract references. “It’s both an art piece and an environmental wall,” Carrier Johnson + Culture’s design principal Ray Varela said.

Halfway around the world in Tehran, Iran, Admun Design and Construction created a memorable brick facade that shields the hot sun, encourages natural ventilation, and provides privacy while allowing limited, interesting patterns of light. Inspired by the surrounding neighborhood buildings and the city’s chaotic skyline, the facade is composed of variously rotated bricks with varied apertures. The openings change size based on the views, sun angles, and external distractions. Mortar was removed by punching the bricks, and the scheme was designed using parametric software. The process was carried out by the builders through a simple coding system. A ledge was placed in the gap between the brick membrane and the outer edge to provide space for flower boxes and to give cleaning access to the windows from outside. Balconies were placed behind the brick facade.

Indeed, low-tech solutions are becoming new again, but with a clever technological twist.

—Sam Lubell

Material

Is it possible for sustainable systems to be both high- and low-tech at the same time? That’s the question architects are answering with a resounding “Yes,” thanks to advanced, but somehow simple, passive strategies that rely on new materials. One of the most publicized solutions is New York–based raad studio’s Lowline Lab, a heavily planted public space—still early in development—that will be located in a historic trolley terminal under the streets of Manhattan’s Lower East Side.

In order to bring natural light into the space, the team is using what they call a “remote skylight,” in which sunlight passes through a glass shield to a parabolic collector, where it’s reflected and gathered at one focal point, then transmitted onto a “solar canopy,” a reflective surface underground. The technology transmits the necessary light wavelengths to enable plants and trees to grow in the underground space. A motorized optical system (likely to be powered by photovoltaics) tracks maximum sunlight throughout the day, and the solar canopy carefully distributes light evenly throughout the space.

Raad principal James Ramsey likened the system, which uses a series of relay lenses and mirrors, to both a telescope and a plumbing system. “You’ve almost treated the light as if you’ve turned it into a liquid,” he said. “It’s only geometry. That kind of simplicity is very efficient, and there’s something elegant about that.” All these technologies, added Ramsey, are still in development, so a specific system has not been finalized. He hopes to have it nailed down in the next couple of years.

French firm studioMilou’s reimagining of the National Gallery in Singapore consists of a roof and “veil” that unite two renovated historic buildings while creating a new courtyard. It’s another passive wonder that draws even, dappled light and keeps the buildings and their new public space cool. It mimics one of the oldest systems in the universe: a tree, with its thousands of branches stemming outward. The veil starts above the existing buildings and swoops down around them, filtering and softening natural light through thousands of laminated fritted glass and perforated aluminum panels, creating a filigree structure that also marks the new main entrance. All is supported by large aluminum columns, which effectively serve as tree trunks.

The goal, the French architects said, is for the roof and veil to resemble a handcrafted rattan tapestry. To execute the simple but complex form, the firm scanned the entire space and created a detailed 3-D model, working the roof and veil into the complex geometries of the space and even adjusting panels to fit and avoid the existing facade cornices. Each aluminum panel (chosen for its light weight and rust resistance) can be removed if maintenance is needed.

Meanwhile, Phoenix-based Wendell Burnette Architects’ (WBA) Desert Courtyard House uses a simple, reductive system to create a memorable space in a Sonoran Desert community near Phoenix while also being naturally sustainable. The house, which wraps around a courtyard containing volcanic rock, Saguaro cacti, and desert trees, is located in a low-lying area. It consists of about eight percent locally sourced cement (constituting the raised base) and 92 percent rammed earth excavated from the site. All of the extracted soil was used for the thick walls—none was taken away from the site and none was imported from elsewhere. The peripheral walls range from 3.5 to 18 inches thick, their high thermal mass keeping the home cool—although air conditioning can be used on particularly hot days. Another natural cooling system is the folded, wood-framed Cor-ten steel roof, which conducts heat up and out, creating a chimney effect.

The heavy, almost cave-like palette continues throughout the house, creating a unique aesthetic that Burnette said “feels ancient, primal, and modern at the same time.” He added, “You experience this as a shelter in a very elemental way.”

—Sam Lubell

For more “Passive Aggressive” articles, explore: Bjarke Ingels Group’s own tech-driven think tank, how WORKac’s Arizona House revives the super sustainable Earthship typologyMOS Architects' Michael Meredith on sustainability, and our brief, unofficial history of recent passive-aggressive design.

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AN interviews Michael Meredith of MOS Architects on sustainability

 This article is part of  The Architect’s Newspaper’s “Passive Aggressive” feature on passive design strategies. Not to be confused with “Passivhaus” or “Passive House” certification, passive design strategies such as solar chimneys, trombe walls, solar orientation, and overhangs, rely on scheme rather than technology to respond to their environmental contexts. Today, architects are more concerned with sustainability than ever, and new takes on old passive techniques are not only responsible, but can produce architecture that expresses sustainable features through formal exuberance. We call it “passive-aggressive.” In this feature, we examine three components—diagram, envelope, and material—where designers are marrying form and performance. We also look back at the unexpected history of passive-aggressive architecture, talk with passive-aggressive architects, and check out a passive-aggressive house. More “Passive Aggressive” articles are listed at the bottom of the page!

Michael Meredith is a founding co-principal of MOS Architects, whose work connects the rigor of American formalism with 21st-century biopolitics.

The Architect’s Newspaper: How does sustainability affect form?

Michael Meredith: I would say that in the last few years, formalism went from geometry-as-god to performance-as-god. If Eisenman would say, “The logic of geometry made me do it,” today people would say, “The sun angles made me do it.” It’s a narrative that played out in schools, at least.

What kind of passive design strategies do you use?

Well, a lot of our projects use the chimney effect. We love chimneys, we even gave a lecture on it. The Element House is maybe the most explicit. It is totally off the grid and has about 12 inches of insulation.

But we also implemented it in the Ordos house in 2005, as well as After Party, our MoMA/PS1 Young Architects Program installation in 2008, and some of our other more recent house proposals. It’s one of the most basic units of architecture and acts as a catalyst for both performance and form without a lot of effort, and to great effect.

How do you see sustainability today?

Sustainability has become the new default. It is hard to find anyone who says they aren’t sustainable, although that would be interesting. Nobody would say they’re not sustainable, it’s like saying they’re against ADA. It’s just a requirement nowadays. Maybe we should make a bigger deal about it, we don’t really sell the sustainability thing like some other offices would, but we do use it.

For more “Passive Aggressive” articles, explore: our feature article that features projects from across the world, Bjarke Ingels Group’s own tech-driven think tank, how WORKac’s Arizona House revives the super sustainable Earthship typology, and our brief, unofficial history of recent passive-aggressive design.

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Exploring Crown Hall and future of Emerging Voices at the Chicago Architecture Biennial

At the Chicago Architecture Biennial, the role of the horizon in architectural display and setting for events was noticeable—both in the biennial's discussions held at the Illinois Institute of Technology (IIT) Chicago during the opening as well in the main exhibition in the Chicago Cultural Center. Here is what made instant impressions. When the dust settles, various other things will emerge, that I am sure. IIT threw a party for the biennial, as well as hosted panel discussions earlier that day. Without a doubt, Mies van der Rohe's Crown Hall is an unbeatable example (on its ideological turf) of how rigorous rules of platonic geometry still drive the photogenic nature beyond actuality, and somehow end up being free of time. The Crown Hall is not only a setting of purity in Cartesian world of grids, but also an organizational force that persists as a monolith in face of any pluralistic trends of the moment, many of them that are present at the biennial. Two discussions "crowned" the morning of that day. First, by reviewing a group of "Emerging Voices," a descriptor meant for a youngish architecture practice established by The Architectural League of New York. After  presentations by Dan Wood, Tatiana Bilbao, Michael Meredith, Florian Idenburg, Paul Lewis and Kim Yao, along with a Martin Felsen-moderated discussion, Anne Rieselbach, of the Architectural League, asked the question that was hanging in the air (paraphrased): For how long will emerging architects will still be considered emerging? Judging by the work presented, the offices owned by the panelists are well ahead in their production of some very important projects. Yet, ideologically, what is the position of supporting institutions of Emerging Voices in order to understand the advance of such highly educated architect makers, influenced by being apprentices to their "parent" architects such as OMA, Peter Eisenman, Steven Holl, Diller Scofidio+Renfro, and SANAA. Are they, the “emerging children,” still struggling to assert their own brilliance and excellence already on record? The interesting and lateral voice was Tatiana Bilbao, architect from Mexico City and the only woman on the panel, for whom the question of influence nor mentorship really seemed to matter. It is always good for the debate to see someone shake the table horizontally and get the discussion to go further. Bilbao is from what people in the North call the South. Which leads me to the observation of the second panel at IIT, moderated by Fabrizio Gallanti and titled "South-North," as an inversion to common understanding of geography. This conversation involved two architects from the “South” and two architects from the “North.” Felipe Mesa and David Barragan, spoke about how different it is to be an architect from the south, and how the south is discovering new phenomena in the last five years, such as tourism. Architecture seems to play a large role in the trend of emerging tourism in locations that were not usually visited before. The lessons from these conversations at this time seem two fold. At one end, the inclusion of the south is simply not just having south, it is about being south from the north. In terms of competence of design and construction process, there seems to be no difference, yet there is asymmetry due to different climates that impose legal regulations onto architecture. David Barragan from Quito referred to vernacular architecture in Ecuador as an escape from the curriculum of the architecture schools there that teach detail drawings made to Swiss and German standards, which no one can read and perform there. The case in point. A side discussion with Paul Lewis unfolded at the scene after these two panels. We both looked at the ceiling of IIT covered in tiles that are in square shape while the entire geometry of the Crown Hall is rectangular. It is good to remember that ideas behind pure architecture are indeed purer in geometry, and not necessarily in economy. Back at the Chicago Cultural Center, three installations stand out as direct answers to the title of the biennial: The State of the Art in Architecture. If not noted before, this title is borrowed from Stanley Tigerman’s conference held at Graham Foundation in 1977. For me two projects presented at the biennial draw attention to this topic at best: First, Nikolaus Hirsch & Michel Müller and, second, WORKac & Ant Farm. They take the aspects of the future from the past seriously into the design process of crafting them now. It is a fantastical world of day-dreaming of architecture that crosses through any statements of architects trying to do art…and fail gracefully…into the next set of ideas of what the future of art shall be, by architecture.
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MOS Architects, Michael Graves among winners of the 2015 Cooper Hewitt Design Awards

The Cooper Hewitt, Smithsonian Design Museum started awarding a yearly Design Award in 2000. The award is a jury-selected process that includes among its ten categories honors for Architecture, Interior Design, Landscape Design, and for Lifetime Achievement that has been won by architects. This year's awards were elegantly introduced by the Museum’s Director Caroline Baumann and Tod Williams and Billie Tsien. They honored MOS Architects' Hilary Sample and Michael Meredith, landscape designer Shane Coen at Coen + Partners, and Commune, the Los Angeles interior design firm. In addition, Common Ground founder Rosanne Haggerty was given a Design Mind award, Jack Lenor Larson was awarded the Director's Award, and, fittingly, the late Michael Graves (whose partners claim he told them before he died that he would win the award this year) was given the annual Lifetime Achievement award.
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AN senior editor Matt Shaw interviews MOS Architects

New York-based studio MOS's experimental projects use technology not to produce extreme digital forms, but to create scenarios for different forces to generate new and novel solutions. Senior editor Matt Shaw sat down with principals Michael Meredith and Hilary Sample in their Harlem home-studio to learn more.

The Architect’s Newspaper: How would you characterize your practice in general?

Hilary Sample: Well, I think it is still evolving—it’s not a set thing, it doesn’t run by itself. We don’t have a fixed methodology. It is unconventional and we try to make it that way on purpose. We are working through a set of problems. We have recently evolved from working on the single-family house to art-related projects and installations, artist’s studios at Krabbesholm, and now mixed use as well.

Michael Meredith: One part of running an office is to produce a culture. We’re a small group, we aren’t corporate, and we live above the office, so it’s an intimate thing. Everybody knows us, they know our kids. We interact all the time. They see our dogs. It’s literally Mom and Pop. We set up a culture where we are working on commercial projects, projects for clients that have to meet budgets and stuff, but at the same time we are making stuff for no clients whatsoever. We are a normal office too though—we have deadlines, crises, the usual.

AN: Your work incorporates a subtle sense of humor in it. How do you reconcile that with a more refined sense of good taste?

MM: It’s not one of these things where if you are one you aren’t the other. It’s more like a mannerism, where you can see the slipped keystone as a kind of sense of humor to some degree. At Solo House there was a kind of humor in a way it could be tragedy. One of the T-shapes has fallen over and becomes the bedroom. That kind of physical humor seems like part of architecture’s history. The buildings have a kind of clunkiness, so it’s kind of childish, but it also works really well, it solves the client’s needs, it stays within budgets, it’s hopefully a place between something beautiful and clunky.

HS: We are interested in refined things that can still be playful too. Lately, we have been talking about putting together a body of our work. Now that we have a history of our own, we can start to look at it more seriously and ask what the next steps are now. You know when you do something that it will work for multiple projects.

MM: If you look at Alvaro Siza, he is an amazing architect who has had obsessions about single ideas for an entire lifetime, he is still trying to work through them. It’s different, but you can put the pieces together. That is something we would strive toward, rather than the corporate model where everything is unique and different and is driven by its site and client. I get worried about that with some offices.

AN: How do you approach a new design problem?

MM: We go back to the previous work and then go from there. I think.

HS: I think that’s right. It depends on the project. Houses have house issues, Cultural projects have cultural issues. So we look at our previous work and then we start to research. It’s kind of a typical architectural process: We look at the site, the program, and the environmental issues.

We are really excited to be included in the upcoming Chicago Biennial. It’s a great group. We were in the Ordos 100, which was almost ten years ago. There are starting to be little exhibitions around that now. To be included in Chicago is great. I’m really excited that there is something like this happening in the United States. It’s a really great moment.

MM: We are doing a house at full scale in a room right next to Tatiana Bilbao and Vo Trong Nghia, a Vietnamese architect. There will be three full-scale houses and we are one of them. The Chicago thing should be interesting. It’s like a generation is starting to emerge.

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On View> Los Angeles or BUST: New exhibition features full-frontal forms

The bust, the sculptural counterpart of the portrait that dates back to classical antiquity, immortalizes not only the likeness of a person from the chest upwards, but the values of both the sculptor and the era in their concepts of beauty and nobility. An object no bigger than a head and a pair of shoulders, centuries later, is a relic embedded with cultural meaning—the preference towards an aquiline nose, for example, or a fixation with youth. With BUST, a group show on view at Jai & Jai in Los Angeles, curator William O’Brien, Jr. asked designers to apply the titular sculptural form to architecture. “Broadly speaking, the primary motivation for the exhibit is to provide a forum for the declaration of new cultures of form-making in architecture,” said O’Brien, a MIT professor and principal of WOJR. He commissioned busts by 11 firms: Andrew Kovacs, Bureau Spectacular, CODA, First Office, MILLIØNS, MOS Architects, Norman Kelley, PARA Project, Pita + Bloom, SO-IL, and WOJR (his own). The design brief asked that each practice take the notion of a basic architecture feature and reinterpret it as a figure of human scale that could be displayed on a plinth. Specifically, he was looking for individual interpretations of “characteristics associated with the facade,” according to the design brief: frontality, proportionality, symmetry, as well as anthropomorphism and zoomorphism. “The conception of a bust within an architectural context privileges certain architectural concerns—such as those related to form, figure, facade, hierarchy, orientation, exteriority, interiority—while diminishing many other architectural considerations that must ordinarily be addressed when designing buildings,” he explained. Each firm was given a relative autonomy to their approach, and in the absence of the real-world constraints typically posed by architectural-scale construction, the resulting works of sculptural abstraction lining the walls of the gallery in pantheonic rows are purely expressive. Wide variations in material and form reflect the varying mindsets. SO-IL’s Losing Face, an object of protruding surfaces shrink-wrapped in a semi-translucent plastic, brings to mind their recent Blueprint project, in which they used a similar wrapping method not to conserve the Steven Holl- and Vito Acconci-designed facade of the Storefront of Art and Architecture, but to “reinvigorate” it. Bureau Spectacular’s Contrapposto Institute cheekily takes the signature S-curve posture of Michaelangelo’s David and applies it three-story building, a tripartite stack with dangerously sloping floors. “This group represents the widest possible spectrum of contemporary architects thinking about form in new and as-of-yet-uncodified terms,” said O’Brien, with little exaggeration; other busts include a deflated Tyvek sac; a composition of mirrors and faux fur; and a humanoid bust studded with matches. “It’s my belief that the “center of gravity” of the discipline has become increasingly clouded. My feeling was that this array of contributors could help us understand the landscape of architecture-as-cultural-production ongoing today.”
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Michael Graves wins Lifetime Achievement Award in 2015 Cooper Hewitt Design Awards

The Cooper Hewitt has announced the winners of its 16th annual National Design Awards. The program was launched in 2000 as part of the White House Millennium Council to "promote design as a vital humanistic tool in shaping the world." First Lady Michelle Obama is serving as the Honorary Patron for the 2015 awards that are accompanied by a series of programs, educational events, and panels. “With the reopening of the museum this past year, Cooper Hewitt is scaling new heights to educate, inspire and empower our community through design,”said Cooper Hewitt director Caroline Baumann in a statement. “I am thrilled and honored to welcome this year’s class of National Design Award winners, all of whom represent the pinnacle of innovation in their field, with their focus on collaboration, social and environmental responsibility, and the fusion of technology and craftsmanship.” This year, the prestigious Lifetime Achievement Award was awarded posthumously to Michael Graves, the famous architect and designer who passed away at the age of 80 in March. In a statement, Cooper Hewitt said the renowned postmodernist is credited with "broadening the role of architects and raising public interest in good design as essential to the quality of everyday life." Graves founded his eponymous firm in 1964, and in more recent years had focused on using architecture and design to improve healthcare. Here is a look at the other 2015 Cooper Hewitt Design Awards winners. Director's Award: Jack Lenor Larsen
From Cooper Hewitt: "Jack Lenor Larsen is an internationally renowned textile designer, author and collector, and one of the world’s foremost advocates of traditional and contemporary crafts.
Design Mind: Rosanne Haggerty
From Cooper Hewitt: "For 30 years, Rosanne Haggerty has worked to demonstrate the potential of design to improve the lives of people living in poverty through affordable housing and human services."
Corporate & Institutional Achievement: Heath Ceramics
From Cooper Hewitt: "For more than 60 years, Heath Ceramics has been known for handmade ceramic tableware and architectural tile that embody creativity and craftsmanship, elevate the everyday and enhance the way people eat, live and connect."
Architecture Design: MOS Architects
From Cooper Hewitt: "MOS Architects is a New York-based architecture studio, founded by principals Hilary Sample and Michael Meredith in 2005. ... Recent projects include four studio buildings for the Krabbesholm Højskole campus in Skive, Denmark; the Museum of Outdoor Arts Element House visitor center in Englewood, Colo., the Floating House on Lake Huron, Ontario, Canada, and the Lali Gurans Orphanage and Learning Center in Kathmandu, Nepal."
Communication Design: Project Projects
From Cooper Hewitt: "Founded by Prem Krishnamurthy and Adam Michaels in 2004, Project Projects is a graphic design studio in New York, N.Y., focusing on art, architecture and culture. Combining a rigorously conceptual approach with innovative modes of visual communication, the studio’s work encompasses a wide range of contemporary graphic media."
Fashion Design: threeASFOUR
From Cooper Hewitt: "Recognized as one of the most innovative fashion labels today, threeASFOUR was founded in New York City in 2005 by Gabriel Asfour, Angela Donhauser and Adi Gil, who hail from Lebanon, Tajikistan and Israel, respectively."
Interaction Design: John Underkoffler
From the Cooper Hewitt: "John Underkoffler is a user-interface designer and computer scientist. His work insists that capabilities critical to humans living in a digital world can come only from careful evolution of the human-machine interface."
Interior Design: Commune
From Cooper Hewitt: "Commune is a Los Angeles-based design studio with a reputation for working holistically across the fields of architecture, interior design, graphic design, product design and brand management."
Landscape Architecture:Landscape Architecture: Coen + Partners
From Cooper Hewitt: "Founded by Shane Coen in 1991, Coen + Partners is a renowned landscape architecture practice based in Minneapolis. Through a process of collaboration, experimentation and questioning, the firm’s work embraces the complexities of each site with quiet clarity and ecological integrity."
Product Design: Stephen Burks
From Cooper Hewitt: "For more than a decade, Stephen Burks has dedicated his work to building a bridge between authentic craft traditions, industrial manufacturing and contemporary design."