Posts tagged with "Snøhetta":

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Snøhetta reveals its $100 million Charlotte, North Carolina, library

Civic leaders in Charlotte, North Carolina, unveiled renderings yesterday for a $100 million “library of the future” designed by Snøhetta and partners, which is intended to be an anchor for revitalization efforts in uptown Charlotte. The unveiling marked the culmination of a two-year effort to design a new Main Library for the Charlotte Mecklenburg system, on the site of its current building at 310 North Tryon Street. In 2017 the library system selected Snøhetta to serve as the design architect, with Clark Nexsen of Charlotte as the architect of record and brightspot strategy to lead community engagement and space planning efforts. Plans call for a 115,000-square-foot building with five levels above ground, and one below. The above-ground portion will be a curving structure (the firm is no stranger to designing swooping libraries), clad in glass and ceramic, that frames an entrance plaza and provides views to the activity inside. At one end, the library will anchor the corner with a translucent “prow” that cantilevers over the sidewalk. Once inside the timber-clad interior space, a soaring atrium with a spiraling stair will help visitors get their bearings and draw them upwards through the building. There has been a library on the North Tryon Street site since 1903. Library representatives say they hope the new structure, which will replace the current one, will become a major destination for the region. “The new main library will be an architecturally-distinctive, state-of-the-art, technologically-advanced knowledge center and public commons, where everyone in our community can access the resources of a 21st-century library,” said Charlotte Mecklenburg Library CEO Lee Keesler, in a statement. It also will be a “gateway to a re-imagined North Tryon Street corridor and a catalyst for additional redevelopment.” “This will be the jewel of the cultural neighborhood,” Snøhetta senior architect Nick Anderson told The Charlotte Observer. “The library will be unique, but we want it to be of this place.” The renderings show that the building will contain a variety of spaces that are intended to accommodate public gatherings, events, and various employment-oriented services, as well as reading rooms providing access to print and digital materials. There will be a large lobby, cafe, two “immersive” theaters, flexible meeting rooms, and two outdoor terraces. The lower levels will contain most of the pre-function and event spaces, along with a job training center, counseling services, and maker space offerings, including a technology center, computer lab, and recording studios. Levels three and four will house the bulk of the collections, while the top floor will have a large reading room, writer’s studio and porch, administrative offices, and a terrace with views of uptown Charlotte. When Snøhetta was selected to lead the design effort, founding partner Craig Dykers indicated it would be a model in demonstrating how many ways a 21st-century library can serve the public. “Libraries are more popular today than they have ever been, serving a wider range of needs than access to books only,” he said. “The architecture of libraries is also changing, and Charlotte’s new library will lead the way in showing how a city and its core of knowledge can be open, welcoming and intriguing for decades to come.” Funding will come from both public and private sources, with Mecklenburg County committing $65 million to build the main library and an offsite “support services center.” The Charlotte Mecklenburg Library Foundation, through its newly announced CommonSpark campaign, is raising $50 million for the new library plus another $20 million for the library system. The Knight Foundation also announced a $10 million donation to the project yesterday. Public and private funding for the project is currently totaled at $135 million. Assuming its fund drive is successful, the library plans to break ground in early 2021 and open the new library in early 2024. This is the second time Snøhetta, Clark Nexsen, and brightspot have collaborated on a library project, after the 2013 James B. Hunt Jr. Library on the Centennial Campus of North Carolina State University. Other Snøhetta libraries include the Ryerson University Student Learning Center in Toronto; the New Central Library in Calgary; the recently-opened Charles Library at Temple University in Philadelphia; and the Far Rockaway public library in Queens, New York.
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Gensler reveals new views of controversial AT&T Building lobby overhaul

  Completed in 1984 as the headquarters of the telecommunications giant AT&T, the postmodern Philip Johnson and John Burgee–designed tower at 550 Madison has been the subject of a series of controversial renovations over the last two years. Today, the developer behind the Snøhetta and Gensler revamp of the former AT&T building, The Olayan Group, has released the first look at its new interiors. Designed by Gensler, the new lobby has been rendered in a basic Midtown office building palette of bronze and terrazzo, offset with large expanses of white marble which seem to contrast rather starkly in material, color, and proportion. The basic visual language of the architecture of the original lobby were worked into the new design, making for what architect Philippe Paré claims in a press release is a “powerful expression of the building’s character.” Recessed lighting embedded in the ceiling arcs and cutaways creates a formal distinction with a minimal hand. The lobby is designed to connect to Snøhetta’s proposed garden, which should be visible through the lobby's rear windows (though the outdoor space will only be accessible through side doors). 550 Madison is the youngest building to receive landmark status in New York, though only the exterior is protected; the original interior was demolished early last year. Additionally, the pair of site-specific Dorothea Rockburne murals that were added in 1994 when Sony owned the building—and that some feared would be destroyed or moved—will be preserved in a “sky lobby” seven stories up. The forms in the tiles pictured in the lobby's floor vaguely seem to echo the shapes of the 30-foot-by-29–foot pair of paintings. In addition to Gensler’s lobby renovation, Snøhetta intends to replace the enclosed Gwathmey Siegel Kaufman rear plaza with an expanded garden, open up the Madison Avenue loggias with large glass panes, and reconfigure the current elevator arrangement. This renovation is a more modest proposal after a plan to replace the base of the building’s granite facade with sheer glass was met with backlash. Originally designed for 800 workers, current plans are meant to fit in as many as 3,000. The former AT&T Building is expected to reopen in 2020 as a multi-tenant office tower with LEED Platinum certification and will include ground-floor retail and expanded public space.
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Indy developer drops $1.4 billion plan to revamp old GM stamping plant

Update from Ambrose Property Group at 12:30 p.m. on Monday, September 30:  “Ambrose Property Group and Central Indiana Community Foundation, in partnership with Exhibit Columbus, have decided to postpone the Waterside Design Competition Juried Presentations scheduled for Wednesday, Oct. 2. Ambrose will not be the long-term owner of Waterside, however, the three organizations hope to work with Hood Design Studio, SCAPE, and Snøhetta to explore opportunities to meaningfully advance important conversations about design for our city. We are thankful for the designers’ work on this project and the important role they play in strengthening arts and culture in Indianapolis.” A former General Motors (GM) stamping plant in Indianapolis was set to become a massive new corporate campus designed by some of the biggest names in architecture. Today, the owner of the site, Ambrose Property Group, announced it is scrapping its plans. AN previously reported that three shortlisted design teams were chosen in May for a competition that would reimagine the 103-acre plot of land, home to the Albert Kahn–designed GM plant formerly known as Crane Bay. The teams included Hood Design Studio with Thomas Phifer and Partners and Arup; SCAPE with SO-IL, Guy Nordenson and Associates, James Lima Planning + Development, Art Strategies, Nelson\Nygaard, and Manuel Miranda Practice; and Snøhetta with Moody Nolan, Arup, HR&A, Art Strategies, and Chris Wangro. Spearheaded by Ambrose in partnership with Exhibit Columbus and the Central Indiana Community Foundation, the redevelopment contest was expected to finalize a vision for what would one day be a new, mixed-use district near downtown Indianapolis. Over 1,300 residential units, 2.75 million square feet of office space, 100,000 square feet of retail, and a hotel would make up the $1.4 billion neighborhood of Waterside. In a letter addressed to the Indianapolis community, Ambrose’s founder and CEO Aasif Bade explained his reason for selling the property: 
I’m writing to update the local community of Ambrose’s decision to focus our business on e-commerce and industrial development both in Indianapolis and nationally. We believe that a focused approach on one segment of real estate development is best for our investors, our clients, employees and the communities where we invest. As part of this decision, we plan to pursue the sale of our mixed-use and office projects, including Waterside. 
The news came as a shock to the designers today, who all presented their design philosophies and approaches to the public in June. The teams were expected to unveil conceptual schemes on October 2 and go into further details about how they would repurpose the old Crane Bay, build an urban plaza surrounding the site, and construct a pedestrian bridge over the White River, connecting Waterside directly to downtown.  SCAPE told AN in an email that while its office understands the complexity of financing, real estate, and strategy, the timing of the announcement was “not ideal.”
Our team has fallen in love with the GM Stamping Plant site, and we have so much to offer this process. We’ve enjoyed ideating on and building out ideas about how this place—a 100-acre slab of concrete—could transform by investing in civic life and landscape at its core. We believe the City, local residents, community members, and other stakeholders that have contributed their time and knowledge over many years will remain committed to an engaged and collaborative process. At the same time, everyone is sobered by this setback and acknowledges the challenge ahead.
Located in an opportunity zone, the project was a top priority for the city of Indianapolis. The nearly-90-year-old structure has sat empty ever since it closed its doors in 2011 following GM’s declaration of bankruptcy. and the Waterside development was a key part of the city’s failed pitch to host Amazon’s HQ2. A representative from the mayor’s office told The Indianapolis Star that Ambrose’s decision is disappointing, but the city will keep trying to find a way to develop the site. “We intend to use all available tools to ensure that the future of this parcel will live up to the years of planning that has occurred and the ongoing White River Vision Plan,” said Thomas Cook, the mayor’s chief of staff. According to Ambrose, the design competition will still be moving forward next week, but it’s unclear if and how those ideas will be used or whether the participants will be reimbursed for their efforts. The Central Indiana Community Foundation said it hopes the momentum will continue regardless:  “Our partnership with Ambrose and Waterside has been unique in the way it connected residents and neighborhoods to community development,” said the Foundation in an email, “and we are proud that the Waterside Design Competition put a spotlight on our city’s current development success and potential by bringing three world-renown and award-winning designers to Indianapolis...CICF will continue to engage the community to ensure Southwest Indianapolis residents are part of the neighborhood’s equitable and inclusive growth.”  AN reached out for comment from the other shortlisted firms and will update this story we hear back. Additional reporting by Shawn Simmons. 
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Snøhetta's swooping Charles Library opens at Temple University

Snøhetta’s eleventh library has opened its doors for the fall semester at Temple University in Philadelphia. The new Charles Library is just one of many construction projects initiated by a $300 million dollar investment in the 2014 Visualize Temple campus master plan. The 220,000-square-foot, 4-story library boasts more than double the amount of space of its brutalist predecessor, Samuel Paley Library, which was designed in the 1960s by Nolen & Swinburne and will soon be renovated for the School of Public Health. Sited at the intersection of the campus’s major pedestrian pathways (Polett and Liacouras Walk) and one block over from the city’s major thoroughfare (Broad Street), the building acts as a new social and academic hub to not only the school but for the North Philly community at large.  Designed and developed in collaboration with Stantec, the building’s base is vertically clad in split-faced granite, a choice that references the campus’s surrounding context. A cedar-clad arched entrance is cut into the stone volume and welcomes visitors to the south side of the building. The swooping wooden arches continue past the glass facade and into the interior where they form a three-story domed atrium, which serves as a zone that's open 24/7 and offers workstations that are available to all Philadelphia residents. An oculus allows light to pour in from the top floor. To accommodate the growing student body of 39,000, the design needed to utilize the latest technologies while reinterpreting the traditional typology of a university research library. In the atrium, at the base of the steel-clad main staircase, is what students and staff lovingly call the “BookBot”—a fifty-seven-foot tall automated storage and retrieval system (ASRS) for the library’s collection of over 1.5 million volumes. The BookBot drastically reduced the space needed for book storage (the system takes up just five percent of the total square footage) and thus enabled more areas to be developed for individual study, collaboration, and other academic resources such as digital fabrication, and writing and tutoring labs.  While the BookBot frees up shelf space throughout the library's four floors, the book itself hasn’t completely disappeared from sight. Roughly 200,000 volumes can still be accessed in the library’s browsable collection on the fourth floor. On this level, floor-to-ceiling glazing lets in ample sunlight for studying and offers a moment of respite and connection to nature as students can look out onto views of the building’s lushly planted green roof.  The 47,300 square-foot roof garden is one of the largest in Pennsylvania and covers over 70 percent of the building’s roof surface with over 15 different species of native flowers and grasses. Designed to meet Philadelphia Water Department guidelines, the roof is a key part of the site’s stormwater management system, which also includes two underground catchment basins that store and process nearly half a million gallons of water.  The library is already being filled with students socializing in the ground floor cafe, soaking up some sun in the stacks, and diligently working on their laptops anywhere there is an open seat. Given the notoriety of the firm, it is sure to draw attention from more than those cramming for tomorrow’s exam—the university is expecting over five million visitors to stop by the building annually.
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Snøhetta unveils new master plan for Ford research campus in Dearborn

Ford Motor Company released initial renderings today for a major remodel and upgrade of its innovation facilities in Dearborn, Michigan. Over the last two years, the Oslo- and New York-based Snøhetta has been working with the automotive giant to develop a new master plan for its 350-acre site, the longtime home of Ford’s Research & Engineering (R&E) Center. According to the design team, the new master plan will consolidate employees in Southeast Michigan into a centralized, walkable campus where interaction, knowledge sharing, and ideation can occur across teams. This is a huge structural change for the automaker’s global headquarters, where open workspaces and access to outdoor gardens and plazas will be available where it wasn’t before. Since the R&E Center was established under a 1946 master plan by Henry Ford II, off-site structures were acquired afterward across the region as the company grew, ultimately dispersing what was once a core group of workers.  Today, that lack of focused community is cost-prohibitive and it's proven difficult for creativity to flourish when thousands of people that work together aren’t physically in the same place. Ford’s new CEO Jim Hackett brought in Snøhetta to change that by designing what they call a “productive architecture and landscape,” 71 percent of which will be open space, the preservation of existing structures, and new, health-focused facilities. A previously announced 10-year plan to overhaul the site served as the inspiration to build upon the company's many real estate projects and garner new talent through design.  “The master plan at its core is a renewed commitment to Ford’s employees,” the architecture firm said in a press release, “creating a people-first workplace that will also prepare the company for another century of innovation as it leads the global automotive industry into a new era of disruption.” When the plan is fully realized, the campus will be able to accommodate over 20,000 employees and boost efficiency. Currently, the campus can hold about 11,000 people and is characterized by car-ridden streets, low-ceiling offices, and unwelcoming iron gates that keep the public from seeing what’s inside. To make space for twice as many workers and create transparency within the Dearborn community, Snøhetta has designed a series of four campus "neighborhoods" and shared, pedestrian-friendly streets that open up the site along its main borders: Oakwood Boulevard, Rotunda Drive, and W. Emdale Street.  The focal point of the campus will be “The Hub,” a figure-eight shaped structure coming in 2025 that will house the R&E Center and replace the existing product development center on the northwestern corner of campus. The building will be naturally-lit with open floor plans and feature terraces, roof decks, and courtyards. Amplifying the indoor-outdoor experience for employees will be a defining design move of the entire campus. Another neighborhood, “Exchange,” will sit to the right of The Hub as the more public-facing portion on campus. Snøhetta sees it being used for product display, demonstration, and events. “The Hamlet” will feature workspaces surrounded by nature and ecologies native to Southeast Michigan. It could include edible gardens, playscape or discovery gardens, and more. Lastly, “The Retreat” will provide stand-alone pavilions embedded into a larger landscape that can be used as conference rooms for client meetings as well as actual retreats.  Early renderings revealed that Snøhetta will utilize different massing techniques to communicate the type of work being done in the new structures. The design team will also preserve existing buildings on campus wherever they can to integrate them into the new project. Hacket is aiming to complete the overhaul as quickly as possible and to keep the project in line with the previous 2016 plan to wrap construction up by 2026. Meanwhile, Ford will continue its work redeveloping Detroit’s Michigan Central Station in Corktown for 5,000 employees, a project designed by Quinn Evans Architects.
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TWA Hotel, Snøhetta projects, The Shed top TIME's World's 100 Greatest Places

TIME Magazine’s second annual list of the World’s 100 Greatest Places is here and several major, recently-opened cultural marvels secured top spots—two of which were just completed by Norweigan-firm Snøhetta. Put together by the editors and correspondents at TIME, as well as a handful of industry experts, the following parks, hotels, restaurant, and museums were voted highest because they exhibited four key factors: quality, originality, sustainability, innovation, and influence.  It’s interesting to note that only two principals of big-name firms that designed the projects below have made the TIME 100: The Most Influential People list in recent years: Liz Diller (2018) and David Adjaye (2017). The only architect to make the list this year, Jeanne Gang, didn’t have a new piece of architecture up for consideration among the World’s Greatest Places 2019. Not a single Bjarke Ingels Group project made the cut either.  Though it’s not clear why they weren’t chosen, it is possible to guestimate which soon-to-be-finished works across the globe might catch an editor’s eye in 2020 based on this year's finalists. See the TIME’s full list here and AN’s shorter, what-you-must-know version below to learn more:  The Shed New York City By Diller Scofidio + Renfro and Rockwell Group New York’s newest 200,000-square-foot art center only opened in April but it’s been one of the most talked-about building in Hudson Yards. Situated on West 30th Street and surrounded by new glass towers, the kinetic structure features a 120-foot-tall retractable outer shell covered in ETFE panels. It boasts eight different levels for rehearsals, large-scale exhibitions, and events, as well as live music, dance, and theater performances. According to DS+R, The Shed embodies the architecture of infrastructure.  All Square Minneapolis, Minnesota By Architecture Office Austin-based firm Architecture Office created a stand-out space in Minneapolis for the nonprofit/restaurant All Square. Unveiled in September 2018, the 900-square-foot, neon-lit eatery provides the formerly incarcerated with a place of employment and continuing education. The civil rights social enterprise was started by lawyer Emily Turner and has bragging rights to the best craft grilled cheese sandwiches in town. The Gathering Place Tulsa, Oklahoma By Michael Van Valkenburg Associates  Imagined by billionaire philanthropist George B. Kaiser, The Gathering Place is a 66.5-acre riverside park situated two miles from downtown Tulsa. It opened to the public last September and has since welcomed over 2 million people. New York-based landscape architect Michael Van Valkenburgh and his team transformed a slate of land next to the Arkansas River into a veritable green theme park of activities for adults and children. It’s the largest public “gift park” in U.S. history; 80 philanthropic donors funded the construction of the park and created an endowment to secure its future.  Ruby City San Antonio, Texas By David Adjaye Associates Officially set to open this October, the 14,000-square-foot Ruby City holds the 800-piece art collection of the late Linda Pace, artist, philanthropist, and heiress to the Pace Foods salsa fortune. Constructed with a sparkling, rose-tinted concrete exterior made in Mexico, the museum complex includes a series of open galleries with sculptural skylights that bring the sun into the interior spaces. The project was created in collaboration with local firm Alamo Architects.  TWA Hotel Queens, New York By Lubrano Ciavarra Architects Flanking the backside of Eero Saarinen’s historic midcentury modern TWA Flight Center, the new TWA Hotel is a glass-clad, dual-structure composed of 512 sound-proof rooms, a rooftop infinity pool, and a 10,000-square-foot observation deck that looks out over incoming international flights. Guests started arriving at the Jet-Blue adjacent site in May to enjoy the recently-renovated terminal, completed by Beyer Blinder Belle, and its newly-opened dining options. The ultra-energy-efficient hotel also houses 50,000 square feet of underground events space.  Central Library Calgary, Canada By Snøhetta and DIALOG Snøhetta’s Central Library takes up 240,000 square feet of space in downtown Calgary and stands six stories tall. One of the many design elements that make the public building so attractive is its gleaming facade made of white aluminum and fritted glass, as well as the way it straddles an active rail line. On the inside, a massive oculus and sinuous wooden stair system give the 85-foot-tall atrium a light and airy, yet dramatic feel. The public project opened last November The National Museum of Qatar Doha, Qatar By Ateliers Jean Nouvel Qatar’s highly-anticipated National Museum came online in March and is part of a recent construction boom in the country as it prepares for the 2022 World Cup. Designed to mimic Qatar’s desert rose sand formations, the 430,000-square-foot institution stretches in a series of interlocking discs across a portside site in downtown Doha. The galleries inside tell both the story of the desert's natural history as well as the country’s evolution, cultural heritage, and future. Xiqu Centre Hong Kong, China By Revery Architecture  Hong Kong’s new opera house is covered in 13,000 curved aluminum fins arranged in a wave-like fashion—a design move inspired by the delicacy of theater curtains. Though the architecture itself is shaped like a box, the cladding gives it a texturized appearance that’s almost psychedelic to see up close. The cultural space, which opened in April, includes a 1,073-seat theater that floats above an interior plaza used for exhibitions and performances.  V&A Dundee Dundee, Scotland By Kengo Kuma As the second outpost of London’s Victoria and Albert Design Museum, the staggered, concrete facade of the V&A Dundee is a stark contrast to its historic sister site and makes it stand out amongst the industrial waterfront near downtown Dundee. Kengo Kuma inverted two pyramids for the outline of the structure, some of which juts out into the River Tay, to both evoke Scotland’s craggy, cliff-edged coastline and the shape of a ship on the sea. It opened its doors last September with a set of permanent exhibitions on Scottish design.  Statue of Unity Gujarat, India By Michael Graves Architecture & Design and sculptor Ram V. Sutar Standing 597 feet tall on an island in the Narmada River, this bronze statue is a larger-than-life replica of India’s first deputy prime minister Sardar Vallabhbhai Patel. It was completed last November and since then, visitors have flocked to the western India state to climb the statue for unparalleled views of the nearby mountain range. Soon, its base is slated to become a resort.  Under Lindesnes, Norway By Snøhetta Finished in March, Under doubles as a partially-underwater marine biology research station and an ultra-exclusive restaurant. Snøhetta’s sunken “periscope” design dives 16 feet below the North Sea and features a 36-foot-long, 11-foot-tall window wall in the dining room. The exterior is clad in concrete, but the interior boasts other materials such as oak and terrazzo. 
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Coop Himmelb(l)au and Snøhetta win twin competitions in Xingtai, China

Who says the post–Guggenheim Bilbao era of bombastic, sculptural buildings is over? The spirit of the ’00s lives on in the results of twin competitions for a pair of large cultural buildings in Xingtai, a city of more than one million people in northern China. Coop Himmelb(l)au's winning design for the Xingtai Science and Technology Museum resembles a daring cantilevered sandwich, while Snøhetta went with a somewhat more subdued design for the Xingtai Grand Theatre. The news was announced last week by the China Building Centre (CBC), the group that organized the competition. Himmelb(l)au’s design includes a lot of the firm’s signature moves—a soaring cantilevered roof, undulating surfaces, rippling skins, and colliding geometries—but the scheme bears more than a passing resemblance to other layered rectangular buildings that band a public landscape in between two thickened slabs. The Xingtai renderings call to mind Mecanoo’s recently completed National Kaohsiung Centre for the Arts and OMA’s never-built Agadir Convention Center. It looks like this sandwich will have more of a filling than the Mecanoo building, though—Himmelb(l)au’s renderings show the middle as lush, rolling parkland. Snøhetta’s design goes for fewer formal gymnastics than Himmelb(l)au’s but still features a bit of flash. Its main component appears to be a long curved plaza that turns into a ramp that follows the twist of a shimmering facade behind which a soaring atrium awaits visitors. The organizers have not yet announced a timeline for construction.
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A new breed of skyscraper threatens to devastate the fabric of New York

Imagine arriving at the Sheep Meadow in Central Park intending to lie on a blanket in the warm afternoon sun, as you have done many times before, only to find that there is no sunshine anymore. It has been blocked by a new tower just to the west more than twice the height of any building around it, including the 55-story Time Warner Center several blocks away. You look around and notice that more than half of the 15-acre lawn where you used to bask in sunlight is now in shadow. The greatest urban park in this country is directly threatened by those who see it only from a distance. Just as Capability Brown cleared long vistas in front of grand estates, new Excessively Tall buildings turn Central Park into a landscape framed from above. As a result of these new giants, in a few years Central Park may well be unrecognizable and barren—like much of our environment, dying off and becoming extinct. Our built environment, one that we architects designed, will have mortally damaged an Olmsted and Vaux masterpiece. The irony is that the new Excessively Talls (ETs), jacked up on stilts or interspersed with large and repetitive mechanical voids to increase their height over adjacent buildings and secure desirable park views, may ultimately lose their picturesque vistas. These multimillion-dollar investments may be responsible for the measured obliteration of New York City’s world-renowned park. Developers whose new, faster construction methods have accelerated the emergence of a building type catering to the superrich have now launched insidious advertising campaigns showing off the “new” New York: a thicket of gleaming skinny towers. None of these projects have affordable units. Their ads boast park and river views from altitudes of 600 feet and higher (not all ETs are Supertalls, defined by the Council on Tall Buildings and Urban Habitat as towers measuring over 984 feet high). But the parks they showcase, Central Park first among them, will continue to exist in name only. No bucolic pasture will remain in the Sheep Meadow, the carousel will be too cold to enjoy, the ball fields unplayable (grass dies in the dark), Wollman Rink gloomy and windy, Tavern on the Green in shadow all afternoon. The New York City Marathon’s slowest runners will be greeted at the finish line not by waning sunlight but by a giant shadow, courtesy of the latest addition to the Upper West Side, a forthcoming tower designed by Snøhetta on West 66th Street, less than 600 feet from the park. The new ETs—many completed along 57th Street, now aptly nicknamed Billionaire’s Row—are also beginning to touch down wherever there is a view for sale and zoning doesn’t limit height, such as the remaining landing strip of underdeveloped properties between First and Second avenues with potential views of the East River and Long Island, and, most recently, on axis with St. Patrick’s Cathedral, where Gensler has designed a tower. Has anyone considered that natural light would no longer stream through the church’s stained glass? Whatever happened to protecting our heritage and neighborhoods with sensible planning and human-scale development? ETs are catastrophic energy hogs, far worse than typical urban residential construction. Exaggerated floor-to-floor heights and full-floor apartments create a worst-case scenario for energy efficiency. Superskinny towers also have far more structural steel and concrete than is required to bear gravity loads because of the need to resist outsize wind loads. Local infrastructure (water, sewage, and power) is compromised, or service cut, because of the time needed to pump and discharge water and waste. And consider life-safety issues—how long will these buildings take to evacuate in an emergency, factoring in the time it takes to navigate multiple elevator banks, to rescue people in distress? But the impact of ETs spreads far beyond their physical footprints, especially when they appear in numbers. Sophisticated software can conduct shadow studies on the cumulative effect of more than one ET on a city block. The East Side will soon have two towers between 62nd and 63rd streets, one fronting 2nd Avenue and the other on 3rd. Surrounding apartments left in their shadows will need artificial light all of the time, increasing demand on the power grid and our dependence on fossil fuels. And then there is the wind. While data retrieved from the study of a single ET may show that it has no negative effect, the cumulative wind tunnel effect produced by multiple ETs will quite possibly create impassable and turbulent streets, with vicious downdrafts caused by the Bernoulli effect (increased turbulence, or downdraft, as the wind hits a large facade). The developers of these projects and some of our elected officials, unfortunately for us, have ignored the neighborhood residents affected. The public review process has become virtually nonexistent. Gone are community reviews, special permits, and even cursory notification to neighbors. The only way to find out how big these buildings are is by exhausting a Department of Buildings zoning challenge, then moving on to the Board of Standards and Appeals (Article 78), and finally, issuing an injunction. By then, the as-of-right ET will likely have entered construction, or worse, be built. All is not bleak, as there are new regulations limiting the use of glass on tall buildings, thanks in part to the monitoring efforts of the Audubon Society, which has reported that millions of birds fly into such buildings every year because they can’t recognize a mirrored image. That may help. Not since Central Park was practically devastated by neglect during the Beame administration in the mid-1970s has it been so direly threatened, but this time the danger is from without, not within. ETs and other out-of-scale development also place community and public gardens, pocket parks, and playgrounds at risk. It’s time for New Yorkers to rise up and insist on new restrictions to stop the indiscriminate abuse of light and air that could suffocate the city’s parks and their adjacent neighborhoods. To be sure, our skyline is rapidly changing, and there will be consequences, but the potential for irreversible damage demands a moratorium. To insist on more insightful planning is not “NIMBYism”—it is the professionals taking charge. Page Cowley is founder of the New York architecture practice that bears her name and serves as chair of Landmark West!, a New York preservation nonprofit, as well as cochair of the Manhattan Community Board 7 Land Use Committee. Peter Samton was managing and design partner of the New York architecture firm of Gruzen Samton, aka IBI/Gruzen Samton, and is a past president of the New York Chapter of the AIA. He now serves on Manhattan Community Board 7 Land Use and Preservation Committees. Daniel Samton practices architecture as Samtondesign in Harlem, has worked at KPF and Gruzen Samton, specializes in sustainability, and is a certified passive house designer.
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Snøhetta reveals a Honolulu arts complex sculpted by water

The Oslo- and New York-based Snøhetta have unveiled their master plan for the historic Neal S. Blaisdell Center in Honolulu, Hawaii, a major arts and cultural venue on the island of Oahu. Conceived in collaboration with AECOM and local firm WCIT, the scheme encompasses renovations to the existing site and the addition of a new performance and exhibition hall, sports pavilion, and parking structure alongside a revisioning of the public space within the complex. Together, these changes emphasize a connection to water within the community and local landscape. Originally constructed in 1964, the 22-acre Blaisdell Center served as a memorial for Hawaii’s veterans and war heroes until 2016, when the City of Honolulu undertook efforts to modernize the existing structures and update the site to meet the needs of the ever-growing city. The proposal is grounded in three core concepts: gathering community, celebrating culture, and, most crucially, the Hawaiian term ho‘okahe wai, meaning “activate water.” The core addition to the new master plan is the combined 1,500-seat performance hall and exhibition hall, wrapped in a terra-cotta screen that borrows from the breeze block facades used across Honolulu and Waikiki. The combined facilities rest atop a shared, stratified basalt-clad base that opens to reveal an enveloping wood interior. That includes a performance space, a joint lobby with the exhibition hall, and interspersed outdoor lobbies that connect with the large terrace. Drawing on the significant role water plays in Hawaiian culture, the structure’s lifted terraces and the subterranean service core allows for a series of filtering pools and waterfalls, a fountain, an extensive stormwater management system, and renovations to the existing fish pond to stitch the historic and contemporary aspects together. These water features and gardens are part of a “broader system that supports a variety of outdoor performance and recreation activities,” explained Snøhetta in a press release, with the central goal of creating unique communal public gathering spaces throughout the site. Also included in the proposal are refurbishments to the original Concert Hall—which currently houses the Honolulu Opera, Symphony Orchestra and more—to expand its seating capacity, as well as enclosing the existing open-air arcade of the scalloped arena in vertical louvers to form an interior space along the perimeter. The Neal S. Blaisdell Center marks the Snøhetta’s first realized project in Hawaii, following their 2014 proposal for the Obama Presidential Center.
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Harvard’s HouseZero is a live-in lab for sustainable renovation

The Harvard Center for Green Buildings and Cities (CGBC) at the Harvard Graduate School of Design (GSD) has completed the conversion of its 1920s-built home into a live-in living lab that offers a perpetual post-occupancy evaluation. Designed by Snøhetta and energy engineers Skanska Teknikk Norway, HouseZero, as the building is now known, requires zero energy for climate control, zero energy for daytime lighting, and releases zero carbon emissions. In addition to generating more energy than it will ever use, it will also generate extensive data about its own performance.

The renovation combines low-tech changes like larger windows to let in more light, concrete slabs to store thermal energy, and a solar vent that looks like a glass chimney, with high-tech solutions such as hundreds of embedded sensors and computer- controlled actuators that automatically open and close the aforementioned larger windows to maintain the optimal internal temperature. Manual operation is also available for those times when individual comfort levels don’t fall within computer-controlled optimum, and a combination of geothermal and solar heating will ensure the house stays warm during even the coldest days of a Cambridge winter.

HouseZero’s sensors aren’t just being used to adjust internal temperature; they’re collecting millions of points of data on the building’s performance daily, which will be used to analyze the effectiveness of its energy-saving features. The valuable data collected by HouseZero will inform “further research that demystifies building behavior,” said CGBC director Ali Malkawi.

Because the building is located in the Mid-Cambridge Conservation District, the designers were limited in how they could impact the exterior of the building. This limitation ultimately benefits the project, not only by making the design more innately interesting, but also because it invites people to imagine how they could transform their own home into an energy-efficient version of itself. Like Coke Zero, which promises the same great taste with zero sugar, HouseZero promises the same great place, with zero energy. While average homeowners probably aren’t going to add hundreds of sensors and a basement supercomputer to their 1923 Sears Roebuck mail-order bungalow anytime soon, they might consider adding on some larger thermal windows and maybe even some custom-designed sunscreens if they’re feeling inspired. As the CGBC aims to prove, these changes are good for the pocketbook and the environment.

HouseZero is about challenging building conventions and finding new solutions to old problems. In time, the research collected by this smart house may help us building smarter towns and smarter cities across the country.

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SCAPE, Snøhetta, Hood Design among finalists for major Indianapolis project

Three finalists have been invited to develop their ideas for new public spaces at a former General Motors site in Indianapolis. The developer Ambrose Property Group partnered with Exhibit Columbus and the Central Indiana Community Foundation to identify a shortlist of studios to develop specific areas of Waterside, a massive $1.4 billion redevelopment of the 103-acre former GM stamping plant site. The shortlisted teams are: 1) Hood Design Studio with Thomas Phifer and Partners and Arup; 2) SCAPE with SO-IL, Guy Nordenson and Associates, James Lima Planning + Development, Art Strategies, Nelson\Nygaard, and Manuel Miranda Practice; and 3) Snøhetta with Moody Nolan, Arup, HR&A, Art Strategies, and Chris Wangro. According to the announcement, the finalists were selected based on their experience working on projects of a similar size and scale as well as for their design acumen. Waterside was announced last year by Ambrose as a new downtown district on the site of the former GM plant that has sat in disuse since the motor company declared bankruptcy almost a decade ago. (The same site was also being proposed as a potential Amazon HQ2 hub by Indiana officials). It would include 1,350 residential units, 620 hotel rooms, 2.75 million square feet of office space, and 100,000 square feet of retail with a projected development timeline of 15 years. The Waterside Design Competition zeroes in on the adaptive reuse of 25,000 square feet of the Albert Kahn–designed Crane Bay; the design of a public plaza around Crane Bay; and a pedestrian connection across the White River to link the site to Indianapolis's urban core. The three teams will present their design philosophies and approaches to the public on June 12 in Indianapolis. Later in October, they will present their conceptual schemes, and the winner will be decided by a jury of community stakeholders and national experts.
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Snøhetta wins competition for the Shanghai Grand Opera House

Snøhetta just won the competition for the Shanghai Grand Opera House, set to rise in the Expo Houtan neighborhood of the Chinese city. The Oslo and New York–based firm's design centers around a massive corkscrew stair that connects the theater's roof to an entry plaza that then runs down to the banks of the nearby Huangpu River. The grand public plaza and gently-sloped roof are meant to create a generous new public space in the vein of what the firm did for its Oslo Opera House. Other aspects of the Shanghai Grand resemble the Oslo project: three theaters pop through the overall roof, and a large glass wall surrounds the main lobby. The new building trades in the Oslo Opera's crisp, sculptural form for a looser, radiating geometry. Interestingly, the designers did not mention the Oslo Opera House as a related project but named several others in the firm's oeuvre. “The Shanghai Grand Opera House is a natural progression of our previous work with designing performing arts centers,” says Snøhetta founder Kjetil Trædal Thorsen in a statement. “It is a culmination of the competence and insight gained through projects such as the Norwegian National Opera and Ballet, the Busan Opera House in South Korea, the Isabel Bader Centre for the Performing Arts in Canada, and the Théâtre Nanterre-Amandiers renovation in Paris. The Shanghai Grand Opera House is a product of our contextual understanding and values, designed to promote public ownership of the building for the people of Shanghai and beyond." Like Oslo, most of the building's exterior is off-white, presumably concrete, but the lobby is lined with bright red silk. There will be three theaters in the building: a 2,000-seat main auditorium, 1,200-seat second stage, and a 1,000-seat third stage. The smaller spaces are meant for less traditional shows to connect with a "younger audience," according to the designers. The project will be completed in collaboration with the Shanghai-based firm ECADI.