New York firm SHoP Architects is hopping on the coworking train with a commission to design and renovate 335 Madison Avenue into the new home for Company, a vertical tech campus that combines working spaces and lifestyle facilities. Within the 350,000-square-foot space, Company will house “a curated community of top-tier companies that spans the innovation spectrum from venture-backed startups to large enterprises,” according to Company's description of the project. Company’s office building is located next to Grand Central Station in Midtown Manhattan. SHoP has recently unveiled a series of interior renderings that showcase the firm’s plan to renovate the atrium lobby and office floors of the building. They will also design supporting amenity spaces. The new spaces include “a bar, multiple dining venues, several event spaces, a two-story glass enclosed library, a wellness center and a gym, and a terrace.” The location will also create ample networking opportunities for the tenants of the building. The startup offices on the lower floors are furnished with “meeting rooms, phone rooms and breakout spaces optimized for productivity,” according to a statement from Company. Those offices range from 2,000 to 12,000 square feet. The enterprise offices will take up the upper floors of the 29-story building with open floor plans.
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UAP may not be a household name, but the firm is behind the scenes of many of the biggest projects in public art and architecture. With studios in Brisbane, Shanghai, and New York, UAP works with world-renowned artists and architects like Ai Weiwei, Carsten Höller, and Frank Gehry on highly complicated sculptures and architectural features. Most recently, it manufactured Phillip K. Smith III’s Open Sky with clothing brand COS for Salone del Mobile in Milan. UAP is also overseeing a number of projects in the Hudson Yards mega-development. Started in 1993 by brothers Daniel and Matthew Tobin in Australia, UAP collaborates with artists, architects, developers, and governments to plan and fabricate large-scale projects. However, at their core the Tobins are committed to protecting artists’ voices and maintaining conceptual integrity—dealing with tight deadlines, engineering challenges, and logistical complexities to deliver the creator’s vision in full. In this way, they function as an extension of the artist’s studio, allowing artists to step back from management and go back to doing what they do best: making art. UAP is organized into three sectors: UAP Studio, which produces site-specific artworks and offers curatorial oversight and public art strategy; UAP Factory, which works alongside architects on building projects; and UAP Supply, which offers limited-edition and custom furnishings. While UAP’s business includes working with artists to make their visions materialize, the firm also works with developers and governments to curate and consult on the how, where, and who behind public art. Recently, it has been going even bigger and helping develop master plans and long-term public art strategy for clients such as the Queen’s Wharf in Brisbane. Although handwork, traditional CNC, and cutting-edge fabrication techniques are integral to the practice, UAP is constantly looking for new ways to utilize technology. The team has been introducing virtual reality into its design process and collaborating with manufacturing researchers at Innovative Manufacturing CRC, Queensland University of Technology, and RMIT University to experiment with new robotic manufacturing systems that present a range of new possibilities. With his artist pedigree, founder Daniel has designed monumental projects, including the 197-foot-tall concrete tower Al Fanar (Beacon) in Saudi Arabia (with bureau^proberts) and a National AIDS Monument with the West Hollywood Foundation, to be completed in 2019. It’s this creative sensibility that’s central to UAP. It can help artists because they themselves are no mere fabricators; they’re partners in the creative process with an intimate knowledge of production and a deep investment in creative expression. Good Fences Make Good Neighbors New York This past winter’s blockbuster five-borough public exhibition from Ai Weiwei, Good Fences Make Good Neighbors, showcased the work of UAP in one of its most memorable sculptures: the 40-foot mirrored cage underneath the Washington Square Arch. Made in collaboration with the Public Art Fund, the arch sculpture was one of two that UAP completed for Ai’s project. The subject of many photographs, the sculpture approached serious topics with levity—juxtaposing a passage with a cage, it troubled the constructed notion of borders and highlighted the different ways they restrict, regulate, and permit the movement of differentiated bodies. Nuage, promenade Miami Working with renowned designers (and another fraternal pair) Ronan and Erwan Bouroullec, UAP oversaw the construction of a series of metal and glass canopies in Miami’s design district. Called Nuage, promenade, the pergola is designed to engage with not only the surrounding built environment of Paseo Ponti, but also the natural environment, as native plants will slowly grow around the blue and green structure. SITE Santa Fe, New Mexico UAP worked on every step of the process, from design to fabrication to installation, for an external cladding system for a SHoP Architects expansion to the New Mexico contemporary art space SITE Santa Fe. The layers of folded and perforated aluminum cladding for the two entrances help to unify the extension as a whole and mesh it with the museum and the public space. UAP also worked with SHoP on the interiors of the American Copper Buildings in Manhattan. Wahat Al Karama Abu Dhabi, United Arab Emirates In 2016, UAP worked with British artist Idris Khan to realize the massive memorial park Wahat Al Karama in Abu Dhabi, UAE. The central monument comprises 31 leaning tablets made of aluminum plates recycled from decommissioned armored vehicles. The tablets are inscribed with the names of service members and poems and quotes from Sheikh Zayed bin Sultan Al Nahyan and Sheikh Mohammed bin Zayed Al Nahyan. At one end of the park is the Pavilion of Honor, completed with bureau^proberts. Made of 2,800 aluminum panels encircling seven glass panels by Khan, the meditative space is a quiet interior pause that complements the monolithic structure outside.
As the waterfront park bounding the massive Domino Sugar Factory development readies for its opening to the public this Sunday, developer Two Trees Management has released photos of the finished esplanade. AN previously toured the site back in April, but the James Corner Field Operations-designed (JCFO) park has finally received its greenery, closed the holes in the pier, and installed the waterworks. As previously reported, the park runs directly in front of the circular, SHoP Architects-designed 325 Kent as well as the string of residential and office buildings master planned by SHoP (and PAU’s forthcoming conversion of the sugar refinery). JFCO's take on the Williamsburg waterfront programmatically orders the park so that the more active space is located near the Williamsburg Bridge, and the passive spaces further away. At its most energetic section, the park holds two bocce ball courts, a dog run, a 6,300-square-foot flexible playing field, and a volleyball court, as well as an existing skate park. The vibe mellows as visitors walk further from the bridge, with the Danny Meyer-run Tacocina in front of the picnic area; the taco stand’s patio has been decked out with appropriately technicolor outdoor furniture. An elevated walkway hangs over Tacocina, and park-goers can take in views of the waterfront on a catwalk made from beams scavenged from inside of the nearby refinery. The design is a reference to the site’s industrial past and resembles a gantry–an effect made more realistic by the long-dormant cranes lingering nearby, now painted seafoam green. In fact, industrial artifacts from the Sugar Factory dot the park. Along the five-block-long Artifact Walk, screw conveyors have been installed vertically, mooring bollards, signage, and four 36-foot-tall syrup tanks have all been turned into public sculptures. Even the children’s playground, while new, has been shaped like refining machinery. While the park is owned by Two Trees, it’s been opened to the public and subject to the New York City Parks Department’s maintenance standards. Interested visitors can walk the waterfront, run through the misting sprinklers, or eat tacos on the newly-elevated pier come June 10.
On June 7th, 2018, The Architect’s Newspaper will once again bring the Facades+AM conference to San Francisco. AN has put together a stellar lineup of speakers and presenters for the day-long event that promises to give a granular view of some of the most exciting developing technologies in the realm of high-performance facade design that have emerged in recent years, as building integration, resilient buildings, and sustainable design have taken a deeper hold in the architecture, engineering, and construction industry. The day’s program will be opened with a welcome by Emilie Hagen, associate director of Atelier Ten. Hagen helps lead Atelier Ten’s San Francisco team and is a member of the Facade Tectonics Steering Committee. Atelier Ten is currently at work on a slew of high-tech, globally-significant projects, including the forthcoming Google headquarters in London with BIG and Thomas Heatherwick, and has previously worked on the San Francisco Museum of Modern Art expansion with Snøhetta. The opening remarks will be followed by a panel discussion titled “Beyond Little Boxes: Innovations in Facade Design and Delivery” that will focus on the radical transformations occurring within the Bay Area’s building stock, as the city densifies and builds out new residential, medical, and college campuses. The panel will feature Stanley Saitowitz, principal of Natoma Architects; Shruti Kasarekar, associate at Atelier Ten; and Mark Cavagnero, founding partner of Mark Cavagnero Associates. That discussion will be followed by a deep dive into the design of SHoP’s new headquarters in San Francisco’s Mission Bay for carshare company Uber. The 423,000-square-foot project, focused around the delivery of an iconic and operable façade, will include an 11-story tower as well as a shaded patio overlooked by operable walls, among other components. AN has organized a panel featuring Alex Cox, development manager at Permasteelisato; Karen Brandt, senior principal at Heintges; Ryan Donaghy, senior associate at SHoP; Sameer Kumar, director of enclosure at SHoP; and Thilo Wilhelmsen, tender leader at Josef Gartner, to discuss how the design team has redefined conventional facade performance characteristics for the project. Next, the conference will delve into some of the Bay Area’s newest premier projects—like the Pelli Clarke Pelli Architects-designed Salesforce Tower and Transbay Terminal and the Manica Architecture-designed Golden State Warriors Arena—in a panel titled “Signature San Francisco: Delivering the Bay Area’s Next Generation of Facades.” The discussion will include Mirjam Link, senior project manager at Boston Properties; Sanjeev Tankha, director at Walter P Moore; and Daniel J. Dupuis, principal at Kendall Heaton. The conference will also include a pair of “extra credit” lunch-and-learn presentations focused on perimeter fire barrier systems and on laminated glass railing design led by industry leaders STI Firestop and Trosifol. For more information, see the Facades+AM website.
Gensler has replaced New York firm SHoP Architects on the design for the Quicken Loans Arena in Cleveland, Ohio. SHoP had revealed its designs for the Cleveland Cavaliers' basketball stadium, known as "The Q," in December 2016. Work was scheduled to begin on the $140 million project the following year; however, work was delayed for a number of reasons. A spokesperson for Gensler confirmed to AN that Detroit-based stadia specialists Rossetti, who worked with SHoP on the original project, remain involved. Renderings given to AN by Gensler show the arena's overall design is mostly unchanged. Gensler's design team will come mostly from its Washington D.C. office and be spearheaded by Ryan Sickman, who holds the position of Firmwide Sports Practice Area Leader at the firm. Len Komoroski, the Cleveland Cavaliers and Quicken Loans Arena CEO, commented that Gensler was "well-positioned" for the "extensive transformation" of the 24-year-old arena. "Their experience and global foot print are a great match for this project and the image of Cleveland that will be projected around the world from The Q" he continued in a statement, adding: "The project is off to a great start and we look forward to seeing this unique, impactful transformation come to life." Surprisingly, another collaboration between the two firms wasn't on the cards, despite Gensler and SHoP having previously worked together on the Nassau Veterans Memorial Coliseum in Long Island, another stadium revamp. The former was completed almost exactly a year ago today. In 2013, SHoP's design for a New York City F.C. stadium in Flushing Meadows Corona Park was given the boot amid opposition. "I like the idea of a soccer venue in New York City… What I'm not crazy about is the fact that they want to take public park land in the process," said New York City Comptroller John Liu at the time regarding plans to plonk the 25,000-seat stadium on up to 13 acres in the park. After scouting the Bronx, Columbia University and Belmont Park in Nassau County, and failing to secure a stadium site, New York City F.C. is still on the hunt for a home. Despite only being 22 years old, the Quicken Loans Arena is one of the oldest facilities in use on the National Basketball Association circuit. SHoP's design featured a new glazed facade which stretches the stadium’s footprint closer to the street edge. This fenestration reveals an undulating arrangement of what appears to be wood panels which, given their location well inside the facade and north-facing orientation, don’t seem to serve any shading purpose. Aside from aesthetics, entrance and exit gangway areas will witness an increase in space, thus aiding circulation—a necessity considering The Q hosts more than 200 events every year.
Ahead of its June 2018 opening date, Domino Sugar Factory developer Two Trees Management has released new renderings of the project’s forthcoming park, as well as opened the site up for a tour. AN had a chance to check out the James Corner Field Operations-designed Domino Park, as well as the completed 325 Kent Avenue and the ongoing interior demolition at the Domino Sugar Refinery. The SHoP Architects-designed 325 Kent, a doughnut-shaped rental building set back from the Williamsburg waterfront, was the first building to reach completion at the SHoP-master planned site. The 16-story, 500-unit rental building (105 of them affordable) began welcoming residents back in September of 2017. As the weather warms up, residents will get to make use of the rooftop amenities on display, such as curved concrete furniture, lounge chairs, and the central strip of courtyard that runs between the building’s central arch. Domino Park is taking shape at the foot of 325 Kent and is on track to open in only 8 weeks. The quarter-mile-long park breaks its programming into “active” and “passive” activity spaces, with the more active areas located closer to the thrum of the Williamsburg Bridge. The second Domino Sugar Factory tower, the mixed-use, COOKFOX-designed 260 Kent, is on track to open in 2019. A dog run, two bocce ball courts, a 6,300-square-foot “flexible playing field” and a volleyball court make up the more energetic half. At the other end, a Japanese Pine garden, 80-to-100 person picnic area, and the Danny Meyer-run taqueria, Tacocina, will sit at the quieter half of the park. A technicolored children’s play space designed by artist Mark Reigelman, with industrial pieces inspired by the sugar refining process, can be found at the passive end of the park, as can 585-linear-feet of elevated walkway. The walkway sits directly on top of Tacocina, and incorporates 21 steel columns from the former Raw Sugar Warehouse into its superstructure; the sight will be a familiar one to visitors familiar with Kara Walker’s The Sugar Sphinx. Linking each area along the waterfront will be the Artifact Walk, a five-block-long stretch that proudly displays historical refining artifacts salvaged from the site. Four 36-foot tall cylindrical syrup tanks embedded in the Syrup Tank Garden, mooring bollards, signage, and corkscrews have been installed across an elevated platform on the water’s edge. Damaged during Hurricane Sandy, the existing platform was raised to a uniform height above the river, and the new piles have been encased in concrete. To build a historical link to the pre-existing structure, a hole has been cut in the platform and visitors can view the existing wood posts and river below. Work on gutting the Domino Sugar Refinery is still ongoing, in anticipation of the PAU-designed glassy office space that will soon sit within. While the exterior of the factory has been landmarked, preserving the interiors would have been impossible due to the interconnected nature of the refining machinery. Even though the factory shut down in 2004, the thick smell of molasses is still hanging around the building at the time of writing. As for the park, although it’s technically private, Two Trees has opened the expanse to the public and is working closely with the New York City Parks Department. A representative from the development company has stated that James Corner Field had their designs reviewed and approved by Parks, that the stretch will operate on normal NYC park hours (dawn to dusk), and that they’ve given the city permission to claim the park if maintenance falls behind. AN will provide a final look at the finished Domino Sugar Park once the project is completed this summer. COOKFOX's 260 Kent will be featured in detail at the upcoming Facades+ workshop "K. Domino Site A: Big Area Additive Manufacturing (BAAM) & When and Why to Use It" on April 20.
Manhattan’s New Market building at the South Street Seaport will be demolished, despite the efforts of preservationists to save the historic building. While a 42-story tower designed by SHoP Architects was originally slated to rise on the site, and eventually killed in December 2015, the removal of the New Market building has again raised questions over what will ultimately replace it. Built in 1939 as the last part of the surrounding Fulton Fish Market, the New Market building was designed by architects Albert W. Lewis and John D. Churchill under a commission by the Works Progress Administration (WPA). However, the market has been vacant for years and deteriorated to a point where the city has decided to remove it. When exploratory work for the Howard Hughes Corporation tower took place in 2015, a spokesperson for the city’s Economic Development Corporation (EDC) stated that the entire building was in danger of collapsing due to the decaying piles underneath the market. Although preservation groups such as Save Our Seaport were successful in preventing Howard Hughes’ tower from replacing the New Market, their suggestions appear to have fallen on deaf ears this time. The market isn’t an individual landmark and sits outside of the South Street Seaport historic district, and the city has already removed some of the building’s substructure, citing safety concerns. The timeline put out by the city will see the building fully razed by the fall of this year. Community Board 1 and the EDC have been working together to coordinate the demolition, and some Save Our Seaport members see an ulterior motive behind the market’s removal. The South Street Seaport has been a hotbed of development in recent years, and advocates claim that they were told the New Market was in part being removed to put in a construction crane for the upcoming Tin Building. The Tin Building, as with the Seaport’s cancelled condo tower and forthcoming 300,000-square foot Pier 17 market hall, was also designed by SHoP and developed by Howard Hughes. It remains to be seen how the New Market’s lot will be used after work on the Tin Building is complete, or whether the two companies will have any involvement in the long-term plans for the site.
2017 Best of Design Award for Digital Fabrication: Under Magnitude Designer: Marc Fornes / THEVERYMANY Location: Orlando, Florida Depending on the perspective of its visitors, the whimsical Under Magnitude calls upon different references from the known world; but any of its likenesses is pushed beyond its familiar scale. The two-story installation suspended in the atrium of Orlando’s Orange County Convention Center borrows and mismatches elements from biology, achieving a familiar yet mysterious quality—at once friendly and alien. The piece is in fact the sum of many constituent parts: A network of bulbous and bone-like branches comes together in a Y-shaped plan and reaches upward to form a shape reminiscent of a vault or a suction cup. The intricate, continuous surfaces of the 1-millimeter aluminum stripes are also structural. Knit into a unified system of columns and beams, a three-dimensional subspace comes together as a “shell from shells.” “The networked organic structure is fascinating in that it exemplifies the beauty and strength of non-linear design. It’s incredible that the aluminum panels interlock to become a massive suspended shell-structure. Fascinating exploration of the possibility of biophillic design.” —Emily Bauer, Landscape Architect, Bjarke Ingels Group (juror) Commissioned by: Orange County Convention Center Honorable Mention Project: Flotsam & Jetsam Architect: SHoP Architects Location: Miami Flotsam & Jetsam, the gateway to Design Miami 2016’s fair, found a permanent, public home in Miami’s Design District. The pavilions were 3-D printed in less than eight weeks by two project partners. The first used a proprietary method called Cellular Fabrication to print large-scale panels. The second harnessed polymer and bio-derived composites to print components—breaking new manufacturing ground. Honorable Mention Project: As We Are Designer: Matthew Mohr Studios Location: Columbus, Ohio As We Are addresses the relationship between self and representation of self. The 14-foot human head, made from ribbons of ultra-bright LED screens, includes a photo booth capable of taking 3-D pictures. Once a visitor has his or her picture taken, that person’s head is displayed on the visage.
Michigan Government Rick Snyder, Detroit Mayor Mike Duggan, and Quicken Loans founder Dan Gilbert were on hand for the groundbreaking of what will be the tallest building in Michigan. The SHoP-designed project is now expected to rise to 800 feet, making it at least 70 feet taller than John Portman's Renaissance Center, currently the city's tallest building. New renderings show a slightly more conservative formal language for the project. Most notably, the once slightly twisting tower has been straightened out, and deep curving insets have been designed out of the second (lower) building of the project. New York–based SHoP is working with local architects Hamilton Anderson Associates on the project, which is being overseen by Gilbert’s Bedrock development company. The $900 million project will include well over 300 residential units in the 58-story tower, which sits next to an additional 12-story mixed-use building. The ground level of the lower building will include a large market and exhibition space, along with other retail and civic spaces. An observation deck will top the tower. “The building is conceived around a huge and inspiring new public space, a year-round civic square that, both in its architecture and its culture, will foster and convey the feeling we all share when we work together to imagine what this great city can become,” said William Sharples, principal at SHoP, in a press release. The project is being built on what was once the site of one of Detroit’s most popular department stores, Hudson’s. Once the tallest department store in the world at 25 stories, the Hudson’s building was closed in the early 1980s and imploded in 1998. “Ever since Hudson’s closed its doors in 1983, Detroiters have waited and wondered what would come next and what could possibly live up to the incredible history of that block,” said Mayor Mike Duggan at the groundbreaking. “It’s taken nearly 35 years to get that answer, but when people watch this incredible new building rise and see all of the jobs and opportunity it brings, it will have been worth the wait.” The groundbreaking earlier this week begins the three-year building process. Along with this new project, Bedrock is planning to invest $2.1 billion in four projects throughout the city.
After an unsuccessful first attempt before the Landmarks and Preservation Commission (LPC), Vishaan Chakrabarti’s Practice for Architecture and Urbanism (PAU) and developer Two Trees Management Co. have received the go-ahead for their plans to convert the former Domino Sugar Factory into office space. PAU’s design will nest an entirely new glass building inside of the factory’s brick shell, without actually touching the façade save for support beams. Slotting into the SHoP-designed masterplan for the former Domino Sugar site on the Williamsburg waterfront, the design from PAU attempts to bridge the gap between the project’s industrial roots and the five new buildings going up in the neighboring area. By pulling the top of the original factory off, the barrel-vaulted glass roof of the new 400,000-square-foot building can rise higher than the original structure itself, but not as high as the smokestack facing Kent Avenue. Part of the deciding factor is the way in which Chakrabarti and PAU paid homage to the detailing and wear in the original brick through the mullion patterning on the glass structure. It seems the board overcame the trepidation they had the with the scheme the first time around, when commissioners questioned the necessity of converting the original building to an encasing “ruin” in order to save it. The 10-to-12-foot wide “breezeway” between the factory and new office building will remain intact under the new plan presented. David Lombino, Managing Director of Two Trees Management Co., released a statement after the vote for approval. “Thank you to the Landmarks Preservation Commission for engaging in a productive and thoughtful review and for supporting this exciting new approach to making the Refinery building the centerpiece of the Domino redevelopment,” he said. “The new plan is better for everyone. It honors and highlights the landmark; it provides a flexible, modern and totally unique office experience; and it welcomes the public to enjoy this great piece of New York’s history.” Although there was only one “no” vote for the new proposal, the height of the glass barrel-vault was called out as it dwarfs the surrounding brickwork. PAU may still tweak the design as the project moves forward.
Two years ago, SITE Santa Fe tapped SHoP Architects to expand and upgrade its home, a former beer warehouse turned museum in a rail yard. Now, images of the newly-opened museum expansion show how the low-slung building was transformed as a polished homage to its industrial surroundings. The contemporary art museum picked New York's SHoP for an addition to the home it has occupied since its founding in 1995. To access the new, 10,000-square-foot space, visitors pass under a metal prow and through an open forecourt to the main entrance. From there, the new program includes a bigger lobby, more outdoor space, 200-seat theater, a sculpture court, more space for education, and a new cafe and store. The extra room will enable the museum to host more exhibitions and reach a broader swath of visitors in Santa Fe, a city of 84,000, and the surrounding region. “We wanted the design to lend a quality of intimacy to the space but also open it up to the energy of the Railyard district,” SHoP Principal Christopher Sharples told CLADGlobal. “Together the new galleries, public gathering spaces, and the exterior entrance signal a mature sophistication throughout the space while also creating an iconic presence for the institution as it moves forward.”
The project broke ground in August 2016, and the museum opened early last month. In all, the expansion brings SITE Santa Fe's footprint to 36,000 interior and exterior square feet. Santa Fe, an artsy city already, is no stranger to adventurous architecture and design. In 2015, designers at Ouchhh, a Turkish studio, brought wild fractal projections to the Digital Dome of the Institute of American Indian Arts, the city's college and museum devoted to Native American art. Two years before that, WAMO Studio transformed a walk-in freezer into a new (dare we say "cool") office for its practice.
The Wharf–a $2 billion new development on a former industrial stretch of the D.C. waterfront–has finally opened. The developers are Madison Marquette and PN Hoffman, and the master architect and planner is Perkins Eastman. Previously the site was a mile-long stretch of boat storage, industrial space, and some back-door barbecue joints. At its northern end, it also includes the oldest fish market in the United States. Before the Wharf could be built, the existing seawall and promenade were torn up and replaced by an underground, two-story parking garage spanning the length of the development. The garages connect from below into an array of luxury residential structures with ground-level commercial space–restaurants, yoga studios, and other amenities. Last week all of these opened to the public–in total, 1.2 million square feet of mixed-use space including office structures, luxury and affordable residential space, a marina, and waterfront parks. The fish market was the only structure preserved as-is. The Anthem, a new 6,000-person theatre venue, is a cornerstone development of the Wharf. Designed by New York-based Rockwell Group, the venue is essentially a concrete volume hedged in by two L-shaped residential structures. The Anthem has a warehouse-like interior and two levels of balconies split into smaller, drawer-like extrusions. Massive steel panels flank the stage, laser cut and illuminated with the pattern of two enormous curtains drawn back, resembling the velvet drapery of Baroque theaters. The space is managed by a 30-year old staple organization in D.C. entertainment–the 9:30 Club–to whom the Wharf reached out in the initial stages. The building’s board-form concrete paneling and industrial facade are intended as a nod to the Club’s famed punk-laden lineups. In the lobby, one can look up through an installation of floating cymbals to four rectangular skylights three floors up. If you look closely, the skylights ripple with water–the underbelly of a pool for a residential structure stacked above. A key design challenge for the Anthem was its siting between two residential structures. To address the noise issue, Rockwell spent several million dollars designing a multi-layered sound barrier between the structures, which are reportedly so effective that amplified concerts are inaudible from the interiors of apartments less than a hundred feet away. Supposedly, a resident could sleep soundly while Dave Grohl shredded away on opening night. The Anthem's neighboring structures include designs by FOX Architects, Kohn Pedersen Fox, Perkins Eastman, Parcel 3A, Cunningham Quill Architects, BBG_BBGM, Handel Architects, WDG Architecture, Studio MB, SmithGroup JJR, MTFA Architecture, SK&I, and Moffatt & Nichol. Only Phase One has opened. Phase Two will add an additional 1.2 million square feet to the overall site footprint, mostly extending south. The roster of new structures will include designs by firms such as SHoP Architects, Rafael Viñoly, Morris Adjmi Architects, Hollwich Kushner (HWKN), ODA, WDG Architecture, and Michael Van Valkenburgh Associates (MVVA). The expansion will include increased office and residential space, an additional pier and marina, as well as increased park space. Phase One is notably without much public greenery. The construction of Phase Two is slated to begin in 2018, with a projected opening of 2021.