GlassBuild is the largest trade show for the glass industry in the United States, showcasing the latest in glass products, cutting-edge technology, and educational workshops. On September 11 in Atlanta, The Architect's Newspaper is teaming up with Glass Magazine to create an intensive one day workshop designed specifically for architects. Featuring Neil Denari as a keynote speaker, The Architect's Forum will include case studies and technical workshops on both high performance and decorative glass. Presentations on materials and guided show tours compliment an in-depth look at the new glass facade of Herzog & de Meuron's Miami Art Museum followed by a presentation on advances in structural glass. Learn more and register today here.
Posts tagged with "Neil Denari":
Tex-Fab has concluded the initial stage of its international competition called SKIN. The two-stage competition invited architects, designers, and researchers to rethink the traditional building envelope by exploring the performative qualities of a facade. Participants selected any context, real or virtual, at any scale and on any building type. Phase one jurors narrowed down 68 entries from across the world to four finalists and four honorable mentions. Jurors Phil Anzalone, Maria Mingallon, Gregg Pasquarelli, Randy Stratman, and Skylar Tibbits conferred on July 9th and initially selected 14 entries to discuss. Varying in type and method, the entries depicted a diverse display of ideas and work, compelling the jury to choose four finalists and four honorable mentions. Finalists include Project 2XmT by Christopher Romero and Nicholas Bruscia, Cellular Complexity by Kais Al-Rawi, Julia Koerner, and Marie Boltenstern, Robot Assisted Sheet Metal Fabrication by Lik Hang Gu, Nathan Shobe, and Qi Su, and Sense by Isak Worre Foged and ANke Pasold. The first of the finalists, Project 2XmT, has a visibly developed working model and reveals the dramatic impact from various viewpoints created by small undulations or shifting panels. Juror Skylar Tibbits commented that “it’s the one most in line with the brief.” The next finalist, Cellular Complexity, has an appealing formal potential that tests the limits of architecture. Juror Phillip Anzalone remarked, “If it’s truly developed 3-dimensionally that would be fantastic.” Robotic Assisted Sheet Metal Fabrication was chosen as a finalist in context with the project per-Forming (HM), which received honorable mention, as both interacted with metal forming in distinctive, yet complimentary aspects. Juror Maria Mingallon trusts that “this one could really push the boundaries of TEX-FAB and could add to the exhibition at ACADIA." The last finalist, Sense, is simple with potential to be very dynamic. Tibbits remarked “it’s a known phenomena that could produce some exciting effects." Honorable mentions include Organized Crime by Kyle Miller, Evaporative Folding by Jeana Ripple, Hydromorph by Camden Greenlee and Brian Vesely, and per-FORMING by Jake Newsum and Ammar Kalo. The phase two jury includes Michele Addington, James Carpenter, Neil Denari, Mic Patterson, and William Zahner. Moving onto the second round, the four finalists will use $1000 stipends to develop prototypes of their projects, which will be installed at the ACADIA Adaptive Architecture Conference at the University of Waterloo in October 2013. At that time, the jurors will select a winner whose scheme will be assembled in full scale for the TEX-FAB 4.0 conference.
Neil Denari Architects have won the challenge everyone is talking about: the international competition to design the Keelung Harbor Service Project in Taiwan. According to Keelung's web site the project will become the “Gateway to the Nation,” developing unused waterfront land into a passenger and cargo terminal, a transfer station, an arts plaza, and a wharf for more industrial activity. According to images posted by jury member Michael Speaks, Denari’s plan consists of carved out metallic-skinned masses floating above narrow bases above raised plazas. Surfaces are textured with graphic components including repeating angular window patterns and lime green and powder blue colors. The curved buildings interconnect forming internal courtyards and, at one point, a huge framed view onto the waterfront. The $140 million project is meant to accelerate development in the surrounding areas, including several commercial buildings near the site. The seven-member jury included Aaron Betsky and Speaks. Other teams shortlisted for the project included New York-based Asymptote Architecture, LA-based Platform for Research + Architecture, and Dutch firm Mecanoo Architecten. More pictures from Speaks below.
This Saturday, LA’s A+D Museum will host its annual fundraising banquet, Celebrate. This year's event will not only include music from KCRW DJ Raul Campos (himself a trained urban planner) and some impressive celebs (including our favorite architecture fan Moby), but it will feature a runway show with custom clothing and accessories by architects and designers like Richard Meier, Neil Denari, Predock Frane, BMW Designworks, Karim Rashid, Robert A.M. Stern and many others. The runway show and live auction will be hosted by LA humorist Charles Phoenix and by Frances Anderton, host of KCRW’s DnA. Click on a thumbnail to see the slideshow of the uber fashions.
Without a doubt the big winner at Wednesday's AIA/LA Design Awards, held in the shadow of Cesar Pelli's almost-done Red Building at the Pacific Design Center, was Neil Denari. In an unprecedented display of dominance his firm's No Mass House took home Best in Show for unbuilt work (Next LA Awards), his firm's HL23 Residential Tower in New York took home Best in Show for built work (Design Awards) and then Denari won the AIA/LA Gold Medal. Now that's a good night. (By the way, we thought Best In Show was reserved for dog shows, but that's besides the point...) In accepting the medal Denari, who was born in Texas, talked about being inspired not only by the light and sunshine of California, but also by its darkness, a tension that's palpable in his work. To check out more of the design awards winners check out the AIA/LA's new app on iTunes. And to check out the new Red Building you'll have to wait until it's finished early next year.
Having worked there on and off for the last 25 years Neil Denari is huge in Japan. His latest achievement in the country was just unveiled yesterday: the complete design for Japan's first ever low-cost regional airline, called Peach. The airline, which will be based in Osaka, will fly within about an hour of that airport to locations in Japan, China, Korea and elsewhere in Asia. Its first flights will be next spring. The Peach, Denari explained, is a positive symbol in several Asian cultures, representing, among other things, longevity and fertility. Denari won the competition for the project back in January and his firm, Neil M Denari Architects, worked on the design from then until April. The airline’s planes, outfitted in various shades of purple along with an abstracted peach emblem, are meant to cater to a young demographic in its 20s and 30s, said Denari. Inside the planes will have purple and grey seats, purple strips on overhead bins, grey rugs with purple specks and purple partitions. The “Peach” lettering will have a stencil effect reminiscent of the writing on a fruit box. “It’s pretty vivid. It wouldn’t have worked if they would have tried to do something conservative to make it so broad that there was no style,” said Denari, vaguely referring to certain low cost airlines in the U.S. “And it needed to be cool and cute, but not Hello Kitty cute.” And why purple if the name of the airline is Peach? “There’s nothing enigmatic or curious about that,” said Denari, of a more literal peach palette. “They got that.” Over his years in Japan Denari has taught, designed an exhibition, done brand consulting, and designed several banks for Mitsubishi United Financial Group. There’s a chance he may also design the lounge for the airline at Konsai Airport in Osaka. “It’s a culture of strong visual impressions,” said Denari of Japan. “The expectations for how design and media work to transform experience are very sophisticated.” See the video of the airline's unveiling here.
Heckling Hadid. The New York Times reports that the city council in Elk Grove, California is reconsidering its Bilbao moment. Once upon a time before the recession, the community hoped a community center designed by Zaha Hadid would bring acclaim to the suburban city. Now as plans are being reconsidered, the council only sees a "squid" or an "animal from another planet." LA on HL. Usually found prowling around the west coast, Christopher Hawthorne, architecture critic for the LA Times, has found his way to New York and takes a look at HL23, that condo tower perched above Manhattaned beloved High Line by LA architect Neil Denari. Gimme (Smartly Planned) Shelter. It turns out that when Rolling Stones keyboardist Chuck Leavell isn't rocking out, he's pondering smart growth. Smart Planet relays a recent event at the National Press Club where Leavell and co-author J. Marshall Craig talk transportation, sustainability, and community growth. Ennis House Blues. Curbed reports that Frank Lloyd Wright's 1924 Ennis House in LA just can't seem to find a buyer since it was put on the market in 2009. Originally listed at $15 million, the price has steadily dropped to its current $5.9 mil.
We were scouting cool party spaces recently and caught this view from the 9th floor of Neil Denari's HL23 on the High Line. Lower floors of the 14-story condo, now nearing completion, are going to feel pretty vulnerable to nose-pressers strolling up the rail-bed park who will be just feet away from their living room glass walls. But on the upper floors, views of the length of High Line will unfurl as alluringly as the Yellow Brick Road. Right now, it's possible to make out the stretch of emerald lawn section at 23rd Street, waiting for its sunbathers.
The high-end cotton label Supima is planting its flag—or rather, a field of cotton plants imported from Texas—under the High Line this summer, in a public outdoor event space designed by Brooklyn's Konyk Architecture. Dotted with movable cotton-bale seating and set atop a plywood "walkable mural," the space will host a variety of events beginning the week of July 15 and continues through New York Fashion Week in September, just in time for those cotton bolls to bloom beneath Neil Denari's soon-to-liftoff HL23. Konyk's competition-winning design for the 4,000-square-foot event plaza, currently a staging area for construction near 10th Avenue and 24th Street, will include a plywood "flat field" transformed by routers and jigsaws into a fiberlike landscape based on the botanical profiles of Pima cotton, recalling an expanse of pressed flowers. The reconfigurable cotton-bale seats will allow varying uses for the space, which is expected to host 500-person Fashion Week blowouts, but should also serve as a ruminative, gardenesque respite for flagging Chelsea shoppers. Sponsored by the group Building Fashion—along with Supima, the Pima cotton-growers association—the project also includes a rotating series of pop-up boutiques installed in what is known as the "HL23 Tin," a customized prefab box that currently houses the HL23 sales office. (A model apartment upstairs will take over sales duties.) To fill the space, each of five fashion lines will be paired with an architect to fit out the pop-up store, with architects selected through competitions on Architizer. The first boutique features designer Simon Spurr working with Collective, a young collaborative practice including architects Marc Dizon, George Alan, Zach Hines, and Dehlia Quellman. And rest assured, Alf Naman: there'll also be voyeuristic glimpses of HL23's glittering facade. "It's an interesting hybrid in the shadow of Neil Denari's building," said Craig Konyk of the site. "You're right under the High Line, where HL23 cantilevers over. We'll have a mirror where you can look up through a slot and see the facade as a landscape."
HITCHIN’ A RIDE With its price hikes, worker strife, and bureaucratic image, LA METRO doesn’t exactly set the standard for good press. But that appears to be changing as the transit authority has hired two of our favorite writers to supply in-house news and consulting. After being laid off by the Los Angeles Times in March, transit reporter Steve Hymon was hired by Metro to put together its new transit blog, The Source. On November 20, AN contributor Sam Hall Kaplan announced that he had been hired by Metro to be a transportation planning manager, with a focus on “crafting a user-friendly interface in Downtown LA between the Metro and the proposed California High Speed Rail,” in particular for stations and streetscapes. Eavesdrop hopes there’s one more spot for a guy who would like to check out the coolest cities and their metro systems for ideas—say Paris, Rome, Berlin, and Tokyo. AVE ATQUE VALETS! Bad blood is stirring between the William Morris Endeavor talent agency and developers George Comfort & Sons, as the agency tries to extract itself from a lease at a building now under construction at 231-265 North Beverly Drive in Beverly Hills. Earlier this fall, WME contended that Comfort & Sons had violated the lease, because the agency would be forced to share a valet service and parking with a competitor (God forfend!) in a neighboring building. Prior to William Morris’ mega-merger with Endeavor, the agency had hired Gensler to design the interiors for 231. Enter Ari Emanuel, then head of Endeavor, who now runs the WME shop—where egos in excess outstrip even the most brazen architect. The agent fired Gensler and hired Neil Denari. Then came word that Emanuel was trying to leave the Beverly Drive address entirely. Now, no one is talking, at least not to us. Or is it Eavesdrop’s Corvair? Gensler declined to comment, while Denari’s firm tells us they’re still on hold. As for the valets, we hear they’re deeply offended. Naturally.
WHY TV APPEARANCES MATTER
Why take ourselves seriously as architecture critics when we can be lampooned on The Colbert Report in order to sell a few books? Whoops, that’s not Eavesdrop’s game. That’s New Yorker critic Paul Goldberger, who sat gamely grinning in the hot seat on November 19 while Colbert ridiculed—uh, make that discussed—world architecture and Goldberger’s new book, Why Architecture Matters. After a rocky start (Colbert mis-pronounced Goldberger’s name in the intro), Colbert proceeded to grill the author on the possibility of landmarking the Colbert Report set. Then, he suggested putting a toilet handle on the Guggenheim, and asked if he could skateboard down the Gugg’s ramp (Why not? Krens would have—might have—motorbiked it if he had the chance). Finally, Colbert pondered aloud that if architecture reflects who we are, as Goldberger’s book claims, then how come our houses aren’t getting fatter? Goldberger took it all in stride, relishing the rare chance among architecture authors to bathe in the brighter lights of TV-bound public attention. Fair warning, though: Eavesdrop’s aiming to get on Oprah with an architecture Tell-All.
Send METRO passes and teleprompters to Eavesdrop@archpaper.com.
|The Colbert Report||Mon - Thurs 11:30pm / 10:30c|
Among the winners at last night's ceremony for United States Artists (USA) were architects Neil Denari, Laura Kurgan, and architect/activist Rick Lowe. The $50,000 unrestricted awards are given each year "to ignite the creativity that makes this country great," according to the organization's website. USA was started in 2005 with seed money from the Rockefeller, Ford, Prudential, and Ramuson foundations to support artists in the wake of dwindling public funding for the arts. They praised Denari as a "leading voice in the pedagogy and practice of contemporary architecture," and commended him for showing that "progressive ideology is buildable." Kurgan's work employs "data network information and uses it as a visual device to inform and educate the general public on social issues and their physical implications to the built environment." The jurors referred to Texas-based Lowe as "an artist, architect, urban designer, developer, businessman, and activist who is a catalyst for social outreach for underserved neighborhoods." They praised his Project Row House as a "template for others to follow on how to bring local people together to engage their own creative energies and aesthetic values to produce a 'collective expression' to reinstate a community." The fashion designers Laura and Kate Mulleavy of Rodarte were also given an award by the design committee. The Architecture and Design selection committee includes Art Institute of Chicago's Curatorial Chair for Architecture and Design, Joe Rosa, Mabel O. Wilson, a professor of architecture at Columbia, Peter Zellner, architect and principal of ZELLNERPLUS in Los Angeles, Karen Fiss, a professor of visual studies at the Califonia College of the Arts in San Francisco, and Stephen Burks, director of ReadyMade Projects in New York.
The gossip goldmine that is the Monterey Design Conference (held at the lovely Asilomar conference center) has delivered yet again. Somehow all the ocean mist, the fragrant Pine trees and the camp-like atmosphere (not to mention plenty of booze) seem to open up the floodgates that are architects’ mouths. Thom Mayne started the fireworks with tirades against big American firms working in China and Dubai (“HOK, and those other H architects”) against GM (“They have no idea”) and even against rural folk (“all the intelligence in this country comes out of the cities”). Perhaps even more interesting was the war of words launched by some of the older architects in attendance against the fancy young whippersnappers. After mind-bending, and jargon-laden presentations by the likes of Nader Tehrani, Antoine Predock, John Frane, and Neil Denari, William Krisel railed against “talkatects.” “I don’t have fancy words or theories, I just like to draw and build,” said Krisel, not-so-subtly referencing earlier speakers. Later fellow Modern master Ray Kappe worried whether today’s hippest architects really “understand the human being’s relationship to buildings.” He added, “I’ve been to Zaha Hadid’s buildings and I found it a horrible space to stand under.” Snap, that’s some old-school dissing. And all those flying words must have made the designers thirsty. We saw more than one famous architect get drunk out of their minds, in some cases stumbling to their cabins in dissaray. Don’t worry, we won’t name names. Yet.