Dubai, a city famed for its taste in extravagant grandeur has become a playground for architects of late. Already home to many world firsts and record breakers, a new phenomenon in the form of an old idea may be on the horizon in the form of “Dynamic Tower,” an 80-story rotating skyscraper. Originally proposed by architect David Fisher eight years ago in 2008, the structure could be completed by 2020 if everything goes according to a new plan, says Dynamic Group, the firm behind the concept. Usually, when a firm claims to have conceived something as audacious as a “rotating tower,” they often refer to a little rooftop windmill, or the fact that the structure moves 0.01 inches in the wind. However, with Dynamic Group, this is not the case. https://youtu.be/iY0Uuyf8Xhw Dynamic Group's proposal comes complete with a video (with requisite dramatic music and a Ferrari) showing off its masterpiece. Concepts for Moscow and Paris also feature in what the firm describes as a “new era of architecture.” The tower aims to rise to a lofty 1,378 feet, which would make it the world's second tallest residential tower behind New York’s 432 Park. Designers claim as many as 80 floors will be able to fully rotate on a central column. It doesn’t stop there, either. According to What’s On, Dynamic Group said that floor rotation can be controlled via voice commands, providing, probably, the perfect way to wake that sleepy housemate up if all else fails. Unsurprisingly, the skyscraper will host some wealthy occupants, offering many luxury apartments. Some 79 wind turbines will be used generate energy for the tower along with solar panels that will be laid on the roof of each floor as well as the top roof itself. Fisher boldly claims that the tower would generate a surplus of power—enough "to power five other similarly sized buildings,” wrote What’s On. The designer also hopes to build 90 percent of the structure from prefabricated units. Dynamic Group claim the project will cost (a rather precise) $3,299,770,550 though whether the tower is realised, or simply spins out of control remains to be seen.
Posts tagged with "skyscraper":
Goldstein, Hill & West Architects (GHWA), in partnership with developer Chris Xu, just unleashed a 79-story residential tower on Long Island City, Queens. At 963 feet tall, the tower will be 305 feet taller than its neighbor, CitiGroup's 50-story One Court Square, already one of the tallest buildings in the neighborhood. The ground floor will sport 19,721 square feet of retail, while 774 apartments will be spread over 759,412 square feet of residential space. Xu bought the 79,000-square-foot site for $143 million from Citigroup in July 2015, YIMBY reports. This is not the New York–based firm's first high rise: GHWA is behind Long Island City's 42–12 28th Street, a 57-story residential tower, as well as 605 West 42nd Street, a glassy 60-story residential tower "detailed in a clean modernist idiom." Walking down Jackson Avenue, it's hard not to notice all the new high rises going up in the neighborhood. Walking down Jackson Avenue in the late afternoon, though, and it's hard not to be blinded by the sunlight that reflects from all those new buildings. The so-called Court Square City View Tower is a mere four blocks from MoMA PS1, and, although there's no word yet on when construction will begin, visitors to PS1 this summer will be thankful for the central feature of Escobedo Solíz Studio's Young Architects Program installation. The colorful rope canopy promises to shade visitors from skyscraper sunburns, giving a whole new meaning to Warm Up.
In a new Manhattan skyscraper, Bjarke Ingels Group (BIG) reinterprets the tower-in-the-park by bringing the park up into the tower. https://vimeo.com/154626810 Today, the New York–based firm unveiled The Spiral, a 65-story skyscraper at Hudson Yards. The tower, programmed for offices and 27,000 square feet of retail, is located along the High Line, with a front entrance facing under-construction Hudson Park and Hudson Boulevard East. For those tracking the recent explosion of supertalls, The Spiral, at 1,005 feet, is eye-level with 1,004-foot One57. The prevailing visual element is a stepped group of terraces and hanging gardens, connected to double height atria, that wrap around the side of the building. For tenants renting out multiple floors, the atria can be programmed to connect to other floors, a tweak that could reduce reliance on elevators. Storytelling plays a strong role BIG's practice. The firm has a knack for delivering chronicles that distill the complexity of urban space and the ambiguities of history into a straightforward narrative that situates a project in time and place just so. “The Spiral will punctuate the northern end of the High Line, and the linear park will appear to carry through into the tower, forming an ascending ribbon of lively green spaces, extending the High Line to the skyline," asserted BIG founding principal Bjarke Ingels, in a statement. "The Spiral combines the classic Ziggurat silhouette of the premodern skyscraper with the slender proportions and efficient layouts of the modern high-rise. Designed for the people that occupy it, The Spiral ensures that every floor of the tower opens up to the outdoors creating hanging gardens and cascading atria that connect the open floor plates from the ground floor to the summit into a single uninterrupted work space. The string of terraces wrapping around the building expand the daily life of the tenants to the outside air and light.” In a video accompanying today's announcement, Ingels nails down the appeal of the swirl with pretty motifs from science and nature: "The spiral's immaculate geometry, and its suggestion of the infinite, that has mesmerized us in all cultures, and across time and place." The Spiral, he posits, will be "a new tower that stands out among its neighbors, yet feels completely at home." As buildings should? With BIG's unveil, Phase 1 development is continuing apace at Hudson Yards. When complete, the new neighborhood will allow for 26 million square feet of office space, 20,000 units of new housing, three million square feet for hotels, and two million square feet of retail. Hudson Yards first skyscraper, KPF's 10 Hudson Yards, topped out last October, with construction on 15, 30, 35, 50, and 55 Hudson Yards well underway.
Those who campaigned against Renzo Piano's cylindrical skyscraper in Paddington, London, are celebrating a victory now that plans for the tower have been withdrawn from planning. The tower, dubbed the "Paddington Pole," was set to top out 834 feet (72 floors) and rub shoulders with the Cheesegrater (The Leadenhall Building by Richard Rogers). Developer Sellar Property Group, which also worked with Piano on the Shard skyscraper, claimed the cylindrical tower would change the way Paddington is viewed, with the public no longer seeing the area as a place to catch a train to the west country or visit someone at St. Mary’s Hospital. However, Sellar Property Group was accused by residents of attempting to push the scheme through planning too quickly. Now, according to BDonline, founder Irvine Sellar has said that he considered concerns regarding “the height and impact of the tower element of the scheme on the local area.” This came after some “high level discussions” (no pun intended) with the leader and deputy leader of Westminster city council addressing the height issues. Sellar is supposedly keen to work with Piano on a revised design. https://twitter.com/CampaignSkyline/status/693391588165316608/photo/1?ref_src=twsrc%5Etfw Sellar went on to note that the revisions “will bring forward an amended scheme that will still deliver all the substantial benefits including the significant investment in infrastructure and social housing.” The 830-foot-tall scheme by Piano—who had previously said the only way to regenerate the area was to build a tall tower—had attracted fierce opposition with architects Terry Farrell and Ed Jones among hundreds who posted comments on the application. An online petition has attracted more than 1,800 signatures. Aside from opposition from architect Terry Farrell and local MP Karen Buck, one of the more prominent movements against the "Paddington Pole" was Historic England. “Tall buildings can be exciting and useful. But if they are poorly-designed, or in the wrong place, they can really harm our cities," Historic England CEO Duncan Wilson told the Guardian. "We trust that the revised plans for Paddington Place will take the area’s unique character into account.” “London’s skyline is unique, iconic and loved. It has to be managed sensitively and with proper planning,” he added. “Tall buildings can be exciting and useful, but if they are poorly designed, or in the wrong place, they can really harm our cities. We trust that the revised plans for Paddington Place will take the area’s unique character into account.” The proposal had promised a new Bakerloo line ticket hall for at Paddington station, offices, restaurants, some 330 homes and a sky garden. It had the backing of Network Rail, Transport for London, St Mary’s Hospital, the NHS, and the Greater London Assembly. Still, Philippa Roe, leader of Westminster council, was pleased at the decision to withdraw plans. “This is a very positive step and will allow time for us all to bring forward a development that enjoys broader community support and that we jointly believe will deliver enormous benefits to Westminster and London," she told the Guardian. "We remain committed to ensuring that all the benefits of the original scheme are retained in the revised plans.”
Love it or not, Rafael Viñoly's 432 Park makes a statement on the New York City skyline. The 88-story, 1,396-foot-tall skyscraper will be home to some of the world's richest people (and/or their faceless LLCs). One soon-to-be-resident is bringing the public's prying eyes inward by bucking the less-is-more aesthetic of contemporary interior design for a maximalist, marble-on-marble pad designed by Brooklyn–based Atelier & Co. Atelier & Co. went for baroque with the design of a 4,000-square-foot residence on the tower's 40th floor. The building's structural tube design allows for open, no-column layouts, allowing residents to configure the space freely from a standard skyscraper layout. Atelier & Co.'s plan removes the sitting room to create a combined dining and living area, divided only by a bookcase lifted from the set of Downton Abbey. Meanwhile, the size of the master bathroom is doubled, presumably to accommodate the owner's collection of marble busts, vases, or anachronistic glass globes. The colonnaded entryways, ornate wood floors, and coffered ceilings do right by Joan Rivers and Louis XIV. Atelier & Co. notes that the design was influenced by 19th century Prussian architect and painter Karl Friedrich Schinkel as well as Leo von Klenze, the German painter, writer, and architect. The designers do recognize that their creation is inside a supertall, not Versaillies. They claim that the aesthetic draws on Viñoly's geometry, perhaps in the patterning of the living room's coffered ceiling. As this monumental throwback interior takes shape, it's a good time to note that the Council on Tall Buildings and Urban Habitat, the organization in charge of keeping tabs on the world's supertalls, recently recognized 432 Park as the world's 100th supertall. The tower clocks in as the second tallest building completed in 2015, per the organization's numbers. While living in this apartment may cause irreparable damage to your taste, that's not the only danger it poses. A recent study in the Canadian Medical Association Journal suggests that living on a building's upper floors increases the risk of dying from cardiac arrest.
Zaha Hadid is designing another skyscraper in Australia. Following designs for a trio of towers in Brisbane and a pair of towers in Gold Coast, the London-based architect has just submitted plans for another tower, this time in Melbourne. Like the Brisbane and Gold Coast towers, the proposed project, a 54-story mixed-use skyscraper, also employs a sculptural, tapered expression, creating more open space at the base. Despite the notion that Melbourne is reaching an oversupply of residential housing units, the tower will comprise 420 apartments, 118,000 square feet of retail space, and 60,000 square feet of commercial office space. “If more residential units are not supplied to meet demand, prices will simply become too expensive,” Zaha Hadid Architects Director Gianluca Racana told Australia’s Financial Review. Other features of the project include a public ground-level plaza as well as a new north-south laneway connecting Collins Street, where the tower will be located, with adjacent Francis Street. Due to recent height and density restrictions for the Central Business District set forth by Minister of Planning Richard Wynne, the development of Hadid’s newest Australian tower was delayed. Plans for the project underwent significant height reduction to comply with the new rules, which have been criticized by developers since they were announced this past September. Even with the alterations to its design, the project’s plot ratio is still beyond the maximum requirement allowed under the new law. The developer is hoping that the project’s proposed contributions to the public realm, including the public plaza and the new thoroughfare, will prove exceptional when plans are sent to the minister for approval.
With a theoretical site on Mahattan’s 57th Street—the so-called Billionaires’ Row—New York–based Mark Foster Gage Architects (MFGA) was recently asked, “What is the next generation of luxury?” The firm's answer? To bring “higher resolution” to those projects by working at a range of textural scales, and his proposed theoretical tower has been making waves in design conversation around the city. For instance, from far away, the building reads as a figure in the skyline, but up close, there is another level of detail that is not legible from far away. Even closer, the ornament has another level of “resolution” that makes it more visually interesting. Gage told AN that the idea comes from a Leon Krier drawing where a man is looking at a column, and then zooms in to see a capital, and then zooms in even further to see an egg-and-dart pattern. The same man then looks at a Modernist building, which looks like a grid. When he zooms in he sees another grid, and then zooms in again to see another grid. Gage wants to develop this concept for the 21st century, creating high- to super-high resolutions using a technique called “kitbashing,” or taking parts of readily available models and repurposing and reanimating them together as a new whole. Three-dimensional models from the internet become like new primitives for MFGA, where a new vocabulary emerges from a wealth of new shapes. “Architecture, and especially abstraction, has become about picking out products,” Gage told AN. “If a building is going to be 102 stories, it should give more to the city than just a facade product.” He cites Rockefeller Center as a building that has multiple readings, from its iconic profile to the narrative relief sculptures on its walls. The proposed tower on 57th Street does not have the overt political meaning that Rockefeller’s ornament does. Gage is adamant about not assigning symbolic meaning to his architecture. He would rather choose the figures for their formal qualities, and let people assign meaning. And people have certainly been assigning meaning. “The comments are hilarious,” said Gage. Critics’ comments include everything from speculation that Bruce Wayne bought the penthouse, to musings about a 21st century Gothic, to comparisons to a temple to the Norse god Odin. Others likened it to Gaudi and Michelangelo. A person going by the name Andres Duany on a University of Miami listserv had the quote of the day. “NO! Ornament must be handcrafted. We must and we will wrench the clock back two centuries!!! That will assure that is [sic] is good ornament. The good looking and durable is the guaranteed result of handcraft. The bad looking and soon-to-be-decrepit is the inevitable result of machine production. Plus returning to handcraft will employ oodles of workers in a satisfying way.” However, aesthetics are slippery slope. Everyone has different opinions. What matters here is that while the forms are extreme, they carry with them a significant set of ideas about ornament in our time, and the importance of resisting the simplification of architecture into a monotonous skyline of dull boxes. With a boom of residential construction producing a large percentage of high-profile architecture in New York and other cities, many of the most exciting projects are not experienced by the public as an actual building, but rather as an image, or a part of a landscape or skyline. In this regard, the contribution architects can make to the city remains mostly visual. Thus, aesthetic research remains important and timely.
It's a big week for big Brooklyn skyscrapers. Yesterday, SHoP Architects and Kohn Pedersen Fox Associates unveiled plans for towers within a block of each other, in the Brooklyn Tech Triangle. KPF is developing the 400,000 square foot office and retail project at 420 Albee Square in partnership with JEMB Realty and the New York City Economic Development Corporation (NYCEDC). At 600 feet tall, the tower will be 400 feet shorter than SHoP's, but it will still reign as Brooklyn's second tallest building. Plans for tall towers in Brooklyn are years in the making. In 2004, the Downtown Brooklyn Development Plan rezoned the district bounded by Flatbush Avenue, Fulton Mall, and Willoughby Avenue to spur the development of office space and academic facilities (the area includes parts of the Brooklyn Tech Triangle). Blocks adjacent to this commercial core were rezoned to accommodate denser residential development and ground floor retail. The city has invested $300 million in open space and infrastructure improvements in the Tech Triangle. In a statement, KPF claims that 420 Albee Square is the "first ground-up construction of commercial space since the re-zoning." The effects of the zoning changes in the city's third largest commercial district are especially noticeable on Fulton Mall, where longtime businesses catering to low- and middle-income shoppers are being replaced (homogenized, some say) by upscale national chains. The NYCEDC claims that, to remain competitive, the city needs 60 million square feet of office space built by 2025. How the additional office space catalyzes change in downtown Brooklyn remains to be seen.
In August, AN speculated that a super skinny, supertall tower was coming to Brooklyn. Now, real estate watchblog YIMBY has uncovered a design by SHoP Architects for the 90-story, 1,000-foot-tall tower slated for Downtown Brooklyn. The tower, at 340 Flatbush Avenue Extension, will have 550 residential units and 140,000 square feet of commercial space. A representative from SHoP, however, stated that the "current rendering circulating is preliminary and outdated. We cannot provide additional material at this moment." The project's tentative completion date is set for early 2019. JDS Development is financing the project. Sound familiar? SHoP and JDS partnership are currently collaborating on the 1,428-foot-tall condominium tower rising at 111 West 57th Street. Two important structures share the same block. The (landmarked) Dime Savings Bank, at 9 Dekalb Avenue, was purchased for $90 million from JP Morgan Chase as part of the development package. The bank will be incorporated into the scheme of the structure, though SHoP has not revealed how this will happen. The other structure, Junior's restaurant, sits at the prow of Flatbush and Dekalb, but cheesecake fans can relax: after turning down a $45 million offer from an unnamed developer last year, the owners are unlikely to accept a buyout.
Renzo Piano aims to punctuate London's skyline once again. The architect behind the Shard has now designed a cylinder of glass adjacent to Paddington Station. Contrasting his Southwark skyscraper, Piano has proposed a seemingly crystalline, uneven facade wrapping the cylinder that looks to reflect its surroundings with ripple-like qualities. Topping out at 734 feet and 65 floors, the building will rub shoulders with the Cheesegrater (The Leadenhall Building by Richard Rogers standing 738 feet high). Touted for a mixed-use program housing offices, shops, restaurants, cafes, roof garden, hotel, and 200 apartments in London's already pricey West End, residents will be in line for one of (if not the) best views over Hyde Park and maybe even catch a glimpse of the cricket over at Lord's Cricket Ground. Developer Sellar Property Group, which also worked with Piano on the Shard skyscraper, claims the cylindrical tower will change the way Paddington is viewed, with the public no longer seeing the area as a place to catch a train to the west country or visit someone at St. Mary's Hospital. “We believe this exciting proposal will tap into the potential of Paddington and will prove to be a major catalyst for the continuing enhancement of the area,” Sellar chairman Irvine Sellar told BDOnline. “This site shares much of the same DNA [as London Bridge] with its proximity to a major transport hub with tube, railway lines and bus routes, a neighbouring leading teaching hospital and the potential to provide much needed quality public realm.” Planning application is expected to be submitted by the end of the year with the building being complete by 2020. Meanwhile Pringle Richards Sharratt, BDP, TP Bennett, and MSMR have all been enlisted on the projects team. “The current public realm in Paddington is poor, with congestion in and around the entrance to the Bakerloo line leading to frequent closures," Piano told BD. "This scheme looks to remedy those issues, while creating a wonderful sense of place which Paddington greatly needs.”
The 467 foot tower is organized around the clean lines of a 4 mm thick aluminum composite material (ACM) panel system.Tourists in Manhattan might now be overheard saying something to the effect of: “Did you go to the observation deck at the Empire State building!?” "No, but I did stay at a Holiday Inn." Rightfully so, as there is a new way to experience the Big Apple: 50 stories in the air, in a bed, at the “world’s tallest” Holiday Inn just three blocks south of the World Trade Center. The 490-room, full-service hotel was designed by Gene Kaufman Architect (GKA) in collaboration with Gwathmey Siegel Kaufman & Associates Architects (GSKA), who created the façade. When asked about the “world’s tallest” designation, Kaufman recounts, “The building was originally 42 stories and after development rights were obtained for an additional seven stories, we figured out how to make it an even 50. Only then did someone suggest finding out if that would make it the tallest Holiday Inn.” The 176,600-square-foot Holiday Inn has a low-rise base that complements the surrounding streetscape. Atop the plinth is a dramatic tower with graduated setbacks, from which striking views of the city, the harbor and the Hudson River can be seen from a large number of rooms. A preliminary building shell design incorporating modular bricks presented both geometric and weight issues. Because the site has limited space for construction staging and is constrained by irregular property lines, Kaufman and his team sought out a more lightweight, flexible system that allowed for an angular floor plate. “Although we like brick and use it for most of our projects, we looked for and found a very slender metal panel system that could accommodate all of these conditions and all of the issues related to the building's height.” According to PG Drywall, installing the Reynobond material going up 467 feet with perfectly aligned metal panel joints running from the bottom to the top of the building was presented a unique challenge. The setbacks required frequent reworking and moving of swing scaffolding and mast climbers in a limited staging area. The project was completed in just 10 months. The installation was aided by the use of Allied Metal’s patented Dry-Seal Gasket System, an open V-joint system with snap-in silicone gasket (110 PSF) and locking progress that exceeds the New York City Building Code requirements and is compatible with the attachment and panel in the 1.5-inch space mandated by the limited space air rights. Another advantage to selecting a metal panel system was contextual, says Kaufman: “People refer to the streets in this area as ‘canyons’ because they are so narrow and the buildings so tall that the streets can be very dark. We chose a very light color with a metallic finish that would reflect light down into the streets. We also created a setback tower on a base. These decisions, and taking advantage of being only one block from the river, help light the streetscape.” The jewel-like, multifaceted facade, with its silver cladding that captures and reflects the light, creates a striking image while brightening the street-level pedestrian landscape.
In an interview with the Chicago Tribune’s Blair Kamin, Mayor Rahm Emanuel rattled off a few of his favorite buildings in the fair city of Chicago. Rahmbo steered clear of the supertalls—no Sears, Hancock, or Trump—and he’s apparently a thoroughly modern guy, skipping the old Water Tower, the Board of Trade or any classical designs. Nope, it’s Kohn Pedersen Fox’s 333 Wacker Drive, clad in curving, reflective green glass, that leads off his list. He also gave shouts out to Frank Gehry’s fittingly bombastic Jay Pritzker Pavilion and the industrial-turned-condo buildings of Printer’s Row in the South Loop. Makes sense that Mr. Tourism-and-Development would gravitate towards buildings with real estate stories as interesting as their designs. No qualms with his picks, but we’d like to see old, pre-sweater wearing Rahm pen a screed dropping f-bombs on his least favorite buildings. Now that’d be something.