Posts tagged with "Norman Foster":

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Can technology and design save us? Norman Foster Foundation’s first forum ponders the challenges

The Architect’s Newspaper is in Madrid for The Future is Now Forum, the inaugural event hosted by the Norman Foster Foundation. The Forum featured a remarkable list of figures from the design world and beyond, from Pritzker Prizewinning architect Alejandro Aravena to former New York City Mayor Michael Bloomberg and historian Niall Ferguson. Foster and numerous panelists were optimistic that design and technology could provide solutions for an ecologically and urbanistically challenged planet, though the path forward isn't without dangers and challenges.  The forum was, in a way, the Madrid-based Foundation's debut. The organization aims to foster innovation and research on the built environment while also implementing real-world projects, such as the Droneport featured at the 2016 Venice Architecture Biennale and slated for construction in Rwanda. The Foundation is inherently interdisciplinary in scope, with its wide-ranging focus extending from architecture to infrastructure, engineering, technology, cities, the arts, and more. “I describe it as questioning traditional hierarchies and adopting a roundtable approach to creativity,” said Foster in a description of the organization.
The Foundation (which is entirely separate from Foster + Partners) grew out of a series of international traveling scholarships for architects that Foster initiated in 2007. A physical space for the Foundation would not only receive the scholars, but promote its “holistic approach to design” to a wider audience through a range of programming and exhibitions. Those activities will be grounded with the Foundation’s archive of Foster’s work, which includes prototypes, drawings, transcripts, films, photographs, models, and more. Since 2017, more than 74,000 items have been cataloged and more than half those items are already digitized. Eventually, all of them will be available on the publicly accessible online archive. While the Foundation introduced its new headquarters two days ago (AN will follow up on its design when images become available), today was its inaugural Forum, which was split into three sections: Cities, Technology and Design, and Infrastructure. Foster kicked off the forum by describing the challenges the world faces, specifically rapid urbanization, a transportation revolution (such as driverless cars and pedestrianizing cities), and climate change. With a heavy dose of Buckminster Fuller, he emphasized the need for interdisciplinary intervention and holistic design, something the Foundation will do. The first panel (featuring former NYC Mayor Michael Bloomberg, Richard Burdett, Professor of Urban Studies at London School of Economics, architect Maya Lin, and Foster himself) was fairly straightforward, with an emphasis on the benefits of urban density and the inherently democratic nature of cities. The overriding theme was a need for strong political leadership to present grand and compelling visions to tackle urban woes: "Cities in the West have forgotten the power of planning," Foster lamented. Elon Musk's Hyperloop and Bogotá's highly successful bus rapid transit (BRT) system were also highlighted as examples of successful, radical thinking as well. But it was a comment from former Mayor Bloomberg about technology eliminating jobs that would set the stage for sharp disagreements in the next panel.
The second panel focused on technology and design. It started with a set of striking projects from Professor Matthias Kohler of the Swiss Federal Institute of Technology, which included flying drones constructing a brick tower and robots fabricating a new kind of formwork that allows for curving concrete shapes. Nicholas Negroponte, co-founder of MIT Media Lab, was especially bullish on technology's potential to shape design: "The end of constructing things of components" such as bricks or concrete is coming to an end. Architecture will be "like planting a seed and watching a building grow... additive construction is over." Niall Ferguson, senior fellow at the Hoover Institution, countered that a massive backlash was coming for all this progress: When middle America and Europe figure out that technology is taking their jobs, he said, there will be resistance, even if it's futile. Citing Uber as an especially egregious example, he argued that Silicon Valley sees its inventions and inherently "awesome" and unstoppable, thereby failing to anticipate the reaction of those on the losing side of innovation. Furthermore, Ferguson described how many scientific inventions—from splitting the atom to drones—were frequently turned into weapons of war. His critique was hotly debated by Negroponte, though it succeeded in introducing doubt to the techno-utopian aspects of the Forum's Buckminster Fuller-esque aspirations. Next, Chilean architect Alejandro Aravena delivered the keynote prelude to the final panel on infrastructure. He delivered a more grounded argument about the need for infrastructure to serve multiple roles in the cities. In the face of massive urban inequality, he said, we can't touch income directly but we can strategically design public spaces, transportation, and other urban infrastructure to ameliorate the problem. Examples included using hard infrastructure (e.g. waste treatment) to create new public spaces or platforms for housing, providing opportunities for individuals to be self-sufficient and off the grid, and prioritizing space-efficient transit (such as walking, biking, and buses over cars) in the precious public space of streets. His thoughts were echoed throughout the final panel that followed. Henk Ovink, Special Envoy for International Water Affairs for the Kingdom of the Netherlands and seminal figure in Rebuild By Design, emphasized that infrastructure is a political and cultural challenge as well an engineering one. "We had a water democracy in the 1100s," he said of the Netherlands, which meant the public was always deeply included in the design process. Without a similar process, communities won't understand, own, or accept big infrastructure projects. Also on the panel was Jonathan Ledgard, director of Rossums Group and leader of the Norman Foster Foundation's Droneport project, who sought to counter Ferguson's earlier critique. He cited the Droneport, a hub for commerce and community where drones bring and send away small, high-value goods (such as medicine or mechanical parts) as one example of how low and high technology can mix to benefit the common good. Foster concluded the forum on a historical note. While cars have become the enemies of cities, they were once their saviors, as they eliminated the mountains of horse manure that horse-driven carriages and trucks created. Yesterday's friend can become today's enemy. Still, he said, "the exchanges today give me great hope for the future."
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Foster + Partners unveil first glimpses of the new Apple campus

Late last month, Apple’s 12,000 employee workforce began to move into the technology company’s new 2.8-million-square-foot headquarters in Cupertino, California designed by architects Foster + Partners, according to a press release. The move-in process will take a full six months to complete, capping off the over eight-year long saga involved in transforming an old parking lot into the so-called “Apple Park” complex, which Apple has dubbed as founder Steve Jobs’s “last product launch,” according to Wired. Jobs initiated the quest to build the new headquarters in 2008, a project that consumed him until his death in 2011. In a statement, Apple CEO Tim Cook praised Jobs’s vision and said, “[Jobs] intended Apple Park to be the home of innovation for generations to come. The workspaces and parklands are designed to inspire our team as well as benefit the environment. We’ve achieved one of the most energy-efficient buildings in the world and the campus will run entirely on renewable energy.” To commemorate the end of construction for the $5 billion project, Apple has released several images of the completed complex, a building that contains the largest operable glass walls in the world, among its other superlative qualities. The donut-shaped office complex is located at the center of a 175-acre wooded site that has been reengineered by a series of earthworks and has been re-planted with over 9,000 specimens of drought-tolerant flora, including fruit trees. As if the building were a spaceship that had landed on its site, the highly-constructed landscape finds its way into the building’s donut hole-shaped courtyard, where it is accessible from the office spaces. The site arrangement comes from Jobs’s penchant for taking country walks in nearby areas; the office’s grounds contain over two miles’ worth of walking paths, among other features.

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The main, four-story building is topped by slightly-gabled roof containing an 805,000-square-foot solar array that provides much of the power for the complex. The arrays are interrupted by a continuous, protruding light monitor that facilitates the building’s passive ventilation strategies. The building is not mechanically ventilated, but instead relies on a combination of convection cooling and thermal massing provided by radiant heating and cooling systems to regulate its internal climate. On one end, the building is punctuated by two pairs of four-story-tall hangar doors—each of which weighing 440,000 pounds—that are controlled by silent mechanical equipment embedded underground. Those apertures convert an interior, two-level yoga studio and cafeteria area into a massive outdoor room. The glass doors—and the curved glass curtain walls along the exteriors of the project—were fabricated by German fabricator Seele Group. The yoga studio and its attendant 100,000-square-foot wellness center will offer healthcare and dental services for Apple’s employees.

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The complex also contains a 1,000-seat performancetheatere that will be named for Jobs. The theater is capped by a 20-foot tall, 165-foot wide glass cylinder and by a carbon-fiber roof. Designs for the theater were reportedly heavily influenced by Jobs’s sensitivities and will be used for the company’s future product launches. Construction and landscaping improvements will continue to wrap up on the complex as the employees slowly filter in over the following months.
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Renderings revealed for Foster + Partners’ new tower at Hudson Yards

Today the developer of Hudson Yards has revealed designs for the Far West Side's newest tower.

Related Companies and Oxford Properties Group unveiled the icy cloudbuster for 50 Hudson Yards, designed by global firm Foster + Partners. The 985-foot, 58-story structure covers an entire city block.

“50 Hudson Yards is envisaged as a vertical campus in the heart of Manhattan that is eminently readable at city scale with three distinct blocks stacked one above the other,” said Nigel Dancey, Foster + Partners' head of studio, in a statement. “Crafted from a simple palette of white stone and glass, the building’s primary structure has been pushed to the edges to create large-span flexible floorplates. It aspires to define the workplace of the future, bringing to the fore the practice’s values of innovation and creativity by producing a positive work environment that seeks to fulfill the needs and expectations of a demanding workforce.”

When complete, the 2.9 million-square-foot building at 33rd Street and 10th Avenue will be the city's fourth largest office tower. When the building opens in 2022, principal tenants like the financial company BlackRock will enjoy outdoor terraces and private "sky lobbies," as well as access to 30 Hudson Yards' outdoor observation platform.

The New York Times reports that New York State is giving Blackrock, a company with more than $5 trillion in assets, a $25 million tax break to stay in the state and move into the shiny new tower.

Construction is expected to begin next year on the white stone– and glass-clad building. In the renderings, glass windows are framed by stone while dark-outlined floors peek out from behind the glazed facade. Column-free floorplates that span a minimum of 50,000 square feet per floor are able to accommodate 500-plus people, and workers on some floors will enjoy expansive outdoor spaces, the result of periodic setbacks.

“Covering a full city block, the building is highly permeable at ground level, allowing it to engage fully with its urban location," Norman Foster, founding principal of Foster + Partners, said in a statement. "Designed for a sustainable future, the building makes an important contribution to the regeneration of the far west side of Manhattan.”

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AN speaks to Norman Foster as “Building with History: The Exhibit” opens at the Hearst Tower

Designed by Norman Foster, the Hearst Tower on 57th Street and 8th Avenue celebrated its tenth anniversary last week. To mark the occasion, the British Pritzker Prize-winning architect was on hand to give a talk on the tower while also overseeing the opening of Building with History: The Exhibit which showcases 28 scale models of projects both past and present from Foster + Partners.

At the talk (which was held with ELLE DECOR Editor-in-Chief, Michael Boodro), Foster discussed his architectural philosophy, in particular to the "social agenda" deep rooted in modernism's ideals, something which Foster was captivated by when he was younger and said today, "still burns." With the new technology now available at modernists' disposal, Foster argued that architects today can now "literally do more with less."

"The most interesting buildings always have a certain sense of theater... [and] celebration," he continued. "In this building, it is about turning an impossible problem into a celebration." Foster explained how the challenge of placing escalators along the site's orthogonal axis was resolved by orientating them diagonally. The theatrics of the space was further amplified through artist Jamie Carpenter's adjacent waterfall.

Building with History exhibits Foster's focus on circulation on varying scales: From the small-scale infrastructure solutions of the Hearst Tower, Imperial War Museums, and Reichstag, to the pedestrianization of Trafalgar Square. Building with History is filled with more than just models, though. Plans, sections, and photographs detail many buildings' progressions through the design process.

Speaking to The Architect’s Newspaper after the talk, Foster discussed infrastructure in light of President-Elect Donald Trump’s speech. “Human nature is about crossing boundaries,” he said. “Even though I am an architect and passionate about designing individual buildings… over the years I have become more and more sure that [infrastructure] is the main priority and that architects ignore it at their peril."

“This exhibit brings back many memories about the inception of Hearst Tower,” Foster continued. “Walking into the building a decade later, you immediately note the flourishing sense of community, and it takes me back to the very earliest days of the project.”

Building with History runs until April 15, 2017. 

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Norman Foster awarded golden cast of his own brain

British architect Norman Foster has been given the Scopus Award from the Friends of The Hebrew University. This year's award saw Foster presented with a golden replica of his brain—all while Foster himself was also gifted a "mad scientist" brain cap complete with protruding LED lights. New York-based Serbian artist Marina Abramovic designed the award and presented it to Foster at Campus Biotech in Geneva. The Scopus Award is the highest honor offered by the Friends of The Hebrew University of Jerusalem. Foster was given the prize for his “exceptional cultural contribution and humanitarian concerns.”  To make a (sadly non-functioning) copy of Foster's brain, Abramovic used a 3D scan of the architect's skull. Speaking in Artnet, Abramovic said:
I really like Norman Foster, and his sense of humor. And, he’s English, so I was thinking how to combine these things. So I thought, scan his brain. Let’s create some kind of replica of his brain itself, as a sculpture… You know, in England, every tea set has a tea cozy, so I said, let’s make a cozy for the brain, but one that can somehow create a charge or create light. It creates some kind of mad scientist idea of luminosity coming out.
Dubbed "The Golden Brain Gala" by attendees, guests were given gold-dusted chocolate casts if Abramovic’s lips as well as a rectangle of gold leaf (which attendees were encouraged to be used as lipstick). Afterward, guests had the opportunity to eat a golden ball made of almonds, black and white peppercorns, coriander seeds, honey, and 24-carat gold—a recipe Abramovic learned while fasting with Tibetan monks.
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London Mayor Refloats Foster’s Thames Transport Hub

With a new report, London Mayor and Conservative MP Boris Johnson has re-pitched his Thames Estuary Transport Hub, dubbed “Boris Island” by some, as an alternative to additional runways at Gatwick and Heathrow Airports. The project is in a similar vein to the Riker's Island La Guardia airport expansion proposed by Jim Venturi.

The proposal, initially launched in 2013, was masterplanned by Norman Foster. With other major infrastructure projects like High Speed Two (new high-speed rail lines that would link London to cities as far as Leeds) and CrossRail already in the pipeline, “Boris Island” has never been a fit for UK Prime Minister David Cameron’s austerity government.

In 2014, the Airports Commission ditched the scheme due to its high capital costs. Two years later the idea has resurfaced, along with the Mayor’s newfound political clout as he defies his incumbent party leader David Cameron in backing an E.U. exit

The plan promises rail, sea, aircraft, communication and power infrastructure amalgamated into one hub on the Thames estuary in Kent by the medway. New flight paths into the capital would also mean much less noise pollution, something that already plagues areas adjacent to the two-runway Heathrow airport. Additionally, Foster cites how every three months, a plane low on fuel or with an engine failure flies over London, a risk this plan would alleviate. A proposed rail network would also run around the capital, instead of through it, to reach the airport island and Europe beyond. This, in Foster’s eyes, would bridge the UK's North/South divide and create more trade with the European continent. This rail network would also link up to the existing and under-construction High Speed 2 and CrossRail network.

Also part of the plan would be a new hydroelectric facility in the Thames that would power the hub. With an existing barrier already in action downstream, two miles east of the Isle of Dogs, this new construction would further protect against rising sea levels.

Foster + Partners does have a good track record in delivering similar schemes. Both Beijing's airport—the biggest airport in the world—and Hong Kong's airports were delivered on time and on budget by the firm. They were also voted by travelers as “the best airport experiences in the world.

In his report Landing The Right Airport, Mayor Johnson states that Foster’s hub is the only way to secure enough capacity. "Our analysis predicts that they would offer around double the number of long haul and domestic destinations served by Heathrow today, while exposing 95% fewer people to significant aircraft noise,” he says.

According to the BBC, Daniel Moylan, aviation adviser to the Mayor, says the plan could cost up to $35 billion—with an extra $35 billion needed for road and rail connections. A third runway could cost $28 billion.

However, opponents argue the transport hub would cost significantly more, at around $130 billion. Not only that, it would also disrupt wildlife habitats as well as rendering Southend and London City airports obsolete.  Meanwhile travel time into central London would also be longer compared to Heathrow.

Johnson though, remains undeterred. "If we are to secure the connectivity we need to support our future growth and prosperity and do so without dire impacts on public health—then we must do better than Heathrow,” he concluded.

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Foster + Partners, BIG, and Grimshaw showcase pavilion designs for 2020 Dubai Expo

Dubai, seemingly the architectural playground of choice in recent times, was selected to host the 2020 World Expo three years ago. The event, which will last six months, will have the theme of "Connecting Minds, Creating Future." Not wanting to miss an opportunity to flaunt extravagant designs, Danish architect Bjarke Ingles and Brits Norman Foster and Nick Grimshaw have wasted no time jumping on the Dubai bandwagon. Their three firms, BIG, Foster + Partners and Grimshaw Architects have all received the green light to contribute pavilions touching on themes like mobility, sustainability, and opportunity. His Highness, Sheikh Ahmed Bin Saeed Al Maktoum, Chairman of the Expo Higher Committee in partnership with Emaar Properties, unveiled the winners of the competition this month. BIG will design the "Opportunity Pavilion" which showcases an extravagant undulating facade curved in three dimensions. The structure invites audiences in by revealing the central lobby and core of the pavilion which also houses an array of trees and plant life. Foster + Partners put forward their "Mobility Pavilion," which is equally outlandish and curvaceous. Foster reportedly drew on his experiences when master-planning Masdar City—a city in Abu Dhabi that will rely solely on renewable energy. Finally Grimshaw Architects' "Sustainability Pavilion" maintains the trend toward elliptical design, with a replica of a large solar collector. Usually seen in the desert, similar designs require a tower to focus the light onto the collector (and others in the vicinity). Here, the large disc, which is acutely curved to form a bowl, is surrounded by many smaller versions that stand freely around it. The three pavilions make up only a fraction of the 200 hectare site of the Expo, expected to open in four years.
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Norman Foster breaks ground on his expansion for Florida’s Norton Museum of Art

Commemorating the 75th anniversary of the Norton Museum of Art in Palm Beach, British architect Norman Foster was on site to see his expansion break ground. The new development, called "The New Norton," will see further galleries added along with visitor facilities all within the "original axial layout of the Museum." In what will be his third project in Florida, Foster has laid the foundations at West Palm Beach for further growth, with the aim of the museum to become a leading cultural institution in the Sunshine State. "The new extension of the museum represents an exciting opportunity to place the reinvigorated Norton at the heart of Florida’s cultural life and to establish its international presence, allowing more people to enjoy the museum’s very special collection," said Foster in a press release. A simple, all-white stone facade and minimalist form stays true to the aesthetic of the 1941 original by New York's Marion Sims Wyeth, where a subtle Art Deco style creates a central courtyard. Later developments meant this original axial configuration, on which the building was based, was lost. Foster's master plan dutifully restores Wyeth's symmetry, adding a sense of clarity to the site. In the process, Foster has explored varying topological arrangements to provide a flexible space able that will now be able to attract a much wider local and international audience. Room for further expansion can be seen via the provision of infrastructure that will facilitate of two more exhibition wings being built on the eastern end of the building. "Creating new event and visitor spaces that will transform the museum into the social heart of the community; as well as increasing the gallery and exhibition spaces, to engage with a wider audience," Foster added. Three double height pavilions will now act as the museum's entrance, countering the low-rise galleries and while merging with the three-storey Nessel Wing. Within these pavilions will be a "state-of-the-art auditorium," Grand Hall, which "will be the new social heart for the local community." Also included is a shop, event space, education center, and restaurant that can operate independently from the museum. These spaces will all be coalesced underneath a canopy. Within the vicinity will be an open public space that will be used as a live performance space and venue for "Art After Dark," an evening show hosted by the museum. Spencer de Grey, co-head of design at Foster + Partners, said, “this groundbreaking ceremony marks the moment where the process that began five years ago with the masterplan finally comes to realisation. Our approach at the Norton has been to make art more accessible by dissolving boundaries – whether that is between the building and landscape or art and the viewer.”
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Norman Foster: The quality of infrastructure determines the quality of our lives

This month, the London School of Economics (LSE) hosted its 10th annual UrbanCities debates, a forum where world leaders in the field of urbanism come together to discuss their views on the subject and its relative disciplines (mainly architecture). This year AN caught up with Design Museum curator Deyan Sujic, Norman Foster, and Chilean architect Alejandro Aravena, among others for the debate. "Eighty percent of a country's total GDP is generated from urban areas," Joan Clos, executive director of Un-Habitat, said at the conference. With this, he argued that "transaction costs can be reduced by the availability of labor," supposing the labor supply is within the vicinity of the production area. For this to happen, though, urban planners must focus on the "human scale," focusing their attention on streets, not roads. "Thirty to 35 percent of urban environments are made up of streets, " Clos added. Streets, density, and pedestrianisation would be dominant themes for the debates. Norman Foster continued that theme, clearly setting a hierarchy in the built environment. "Beyond architecture, infrastructure is more important," he said. In his talk, Foster seemed to be both acknowledging his role as an architectural figurehead, but also at how his work may be seemingly powerless to solve the urban problems faced today. "The quality of infrastructure determines the quality of our lives," he added, and "infrastructure is inseparable from economic prosperity." "I have no power as an architect, none whatsoever," lamented Foster in a recent interview with the Guardian. He noted that government policy has a much bigger impact on the shape of the built environment than being an architect does. Citing the population density of the South London suburb of Southwark, Foster said how in 80 years, the density has in fact decreased from 20,550 people/km2 in 1901 to 2,232 people/km2 in 1981. Foster, building on Clos's remarks, emphasized the importance of density, with its connection to energy consumption. Using Atlanta as a tragic example of failure in this respect, he compared the sprawling U.S. city to its opposite extreme, Hong Kong, in how much the two cities differ in almost every aspect. As demonstrated in Atlanta, high density and energy consumption are negatively correlated. Needless energy is wasted in simply moving around, such as getting to work, bringing the previous conversation about proximity—or lack thereof—of the labor supply full circle. Foster clarified this need for density with a call for better public space to offset potential overcrowding. He cited the classic example from New York, saying that "Central Park [is] probably the only park built for the social good." Foster contrasted Olmsted's green space to London's parks that are just old royal hunting grounds, not actual spaces constructed on behalf of the public. Aravena was also complimentary of New York, claiming that "Manhattan is the most productive piece of of urbanism in the world." LSE Professor Ricky Burdett pointed to the flexibility of New York's built environment. "Places in NYC designed for one thing are now used for another," he said, illustrating how diverse and adaptive the city's architecture and infrastructure had become. Manhattan, bound by its physical geography, had to change over time to stay relevant. Aravena added how restraints in design can be beneficial to the process, particularly with urbanism, citing how Philadelphia was literally planned overnight by William Penn. "Time, for urbanisation, is a good restraint," Aravena said, adding that the influx of migrants into European cities could be "windows of opportunity," opening up scenarios similar to when Penn had to plan a city in very little time. Going back to Atlanta, Foster again tackled the infrastructure problem, touting High Speed Rail as an urban palliative that can take on functional and aesthetic roles as well as be used as a tourist destination. Concluding the talk, Joan Clos lamented how a "loss of identity, down to unrestricted development," where developers have too much space and so many material construction methods that have come at the cost of indigenous ones. In doing so, he posed the question: Does globalization mean the demise of the vernacular? The answer continues to play out across the globe.
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Architect Tadao Ando and artist Elyn Zimmerman win the third annual Isamu Noguchi Award

The Noguchi Museum has named architect Tadao Ando and artist Elyn Zimmerman recipients of the 2016 Isamu Noguchi Award. The award, given annually since 2014, recognizes practitioners who "share Noguchi’s spirit of innovation, global consciousness, and East-West exchange." The awards will be presented during the Noguchi Museum’s Spring Benefit in May. Like Noguchi, Ando incorporates natural elements into his designs, and shapes space with humble materials like concrete. Among many notable commissions, his Osaka-baed practice, Tadao Ando Architects & Associates, designed the Pulitzer Arts Foundation building in St. Louis, Missouri (2001), the Modern Art Museum of Fort Worth, Texas (2002), and the Punta Della Dogana Contemporary Art Center, Venice (2009). Ando received the Pritzker Prize in 1995. Zimmerman is known for her site-specific stone installations that play on water and light. Her public commissions include the Sculpture Garden at the Birmingham Museum of Art in Birmingham, Alabama (1993), a pool and granite sculpture, for the National Geographic headquarters in Washington, D.C. (1980), as well as Suspended Arcs, a commission for the Beijing Olympics (2008). In 2015, the award was granted to industrial designer Jasper Morrison and architect Yoshio Taniguchi. Norman Foster and artist Hiroshi Sugimoto claimed the honor in its inaugural year.
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Norman Foster plants a new Apple Store in the heart of Chicago

Foster + Partners has revealed initial images of a proposed Apple store at the intersection of Michigan Avenue and the Chicago River. The new store will replace their existing Michigan Avenue flagship store six blocks to the north. Echoing the company’s 5th Avenue store in New York, the design calls for a large, mostly glass structure with an expanded retail space below ground. Unlike the 5th Avenue store, and more akin to Foster’s recent Aix-en-Provence, France Apple iteration, the new Chicago Store will feature a light solid roof suspended on two large columns. Located on, and below, Pioneer Square, the store will have one of the most visible locations in the city, surrounded by some of Chicago’s most iconic architectural landmarks. The square itself is flanked by the Tribune Tower to the north, the modernist Bruce Graham designed 401 North Michigan Avenue (formerly the Equitable Building) to the East, and the Wrigley Building immediately across Michigan Avenue. The view up the river to the west will also include the Trump Tower, Marina City, and Mies’ AMA Plaza (formerly IBM Plaza), making this location one of the most recognized tourist, not to mention retail, locations in the city. The 20,000-square-foot retail space will occupy an unused cafeteria at Lower Michigan Avenue. The store will also engage with the infrequently used Riverwalk along the north bank of the river. New balustrades and stairs will be added, as well as the 34-foot-tall glass wall of the store itself. According to representatives from Foster + Partners at a recent courtesy presentation to the City Planning Commission, there will be no retail at the surface Pioneer Square level, with the 14-foot-above-grade glass structure acting as a grand entrance. The city has already approved the project, and construction is planned to begin next year.
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Richard Rogers beats Norman Foster and UNStudio for Taoyuan International Airport terminal commission

Rogers Stirk Harbour + Partners have fought off fellow British architecture practice Foster + Partners and Amsterdam-based UNStudio to design the Terminal 3 building at Taoyuan International, Taiwan's largest airport. The firm won by a unanimous decision, AN has learned. In 2014, the airport was the world's 11th busiest passenger airport. The 158-acre airport terminus will see 45 million passengers pass through every year and will be situated adjacent to the China Airlines Headquarters and share some services with neighboring Terminal 2. The building is due to be complete by 2020. Rogers' firm worked with local practice Fei & Cheng Associates and Arup engineers. UNStudio, run by Ben van Berkel, also took the approach of appointing a local firm for the project in working with Bio-Architecture Formosana and April Yang Design Studio. Foster, on the other hand, chose to work individually. Taoyuan International Airport is based 24 miles outside Taipei, the capital of Taiwan and was once known as Chiang Kai-shek International. The winner was selected from a jury comprised Michael Speaks, dean of Syracuse University's school of architecture; Marcos Cruz, director of the Bartlett School of Architecture; and Kwang-Yu King, curator of the 2012 Hong Kong & Shenzhen Biennale.