Posts tagged with "Snohetta":

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‘Hands off my Johnson’: Protestors rally against AT&T Building redesign

Today New York’s architecture community came out in force to protest planned renovations to the base of the AT&T Building, Philip Johnson and John Burgee’s iconic postmodern tower. "We're on for a photo op, where I cradle a model like Philip Johnson did on the cover of Time Magazine," said Robert A.M. Stern, cradling a model of the AT&T Building that RAMSA crafted for the occasion. Stern was accompanied by a coterie of designers from his firm ("my young people!"), all carrying blow-ups of the cover or "Save the Stone" posters. Architects, curators, and members of nearly all the city's major historic preservation groups were in the streets snapping pictures of each others' signs and discussing the cheeky granite tower beneath scaffolding, a sign of renovations that have stirred the ire of preservationists and postmodernists alike. The protestors, about 20 strong, were responding to a Snøhetta design released this week that would modify the ground floor public spaces and glass over the building's arched stone entry. Renovations would add a larger garden connecting the building, now known as 550 Madison Avenue, to nearby 55th Street, while a multistory glass wall would make retail spaces visible from the street. After hearing the news, filmmaker and modern architecture lover Nathan Eddy organized a protest on Facebook and put out calls to action. Already, his change.org petition to the Landmarks Preservation Commission (LPC) to save the building has garnered almost 800 signatures. (Although Landmarks considers public testimony submitted through its channels, this petition is not the first official step in the landmarking process.) A few days ago, however, preservation activist Thomas Collins took that first step by submitting a formal Request for Evaluation to the LPC to designate the AT&T Building an individual and interior landmark. Despite the provocation, Eddy said the group "is not shaming Snøhetta—but we want the building to remain as is." Nearby, Docomomo US, the modern architecture preservation organization, was handing out #SaveATT pamphlets that encouraged people to write to Landmarks to show support for preserving the building, inside and out. "Radical for its return to ornamentation and playfulness of design, the AT&T building is without question a New York City landmark with broad significance to the story of American architecture," Docomomo US said in a statement. "Long misunderstood, much like its Postmodern counterpart the Portland Building, the AT&T building is a door to the future of design." Johnson experts weighed in on the controversy, too. "The building is an extraordinarily important building for New York and for the history of postmodernism," said Hilary Lewis, the Glass House chief curator and creative director. "I would encourage the owners to take a close look at what they have and [find] a way to bring it back to its former glory. Snøhetta is a significant firm that could do something interesting, but in a way that treats the integrity of the facade with greater delicacy." Since it was commissioned by AT&T in the early 1980s, the building has churned through owners. The latest, Saudi Arabian investment group Olayan America, bought the 37-story property for $1.4 billion in June 2016 with plans to convert it into offices. (RAMSA was brought on board by previous owners to turn the vacant building into luxury apartments.) This is not the first time the building has undergone substantial renovations, either. In 1993, then-owner Sony commissioned Gwathmey Siegel Kaufman to enclose the 60-foot-high north and south arcades in glass to create two retail electronics stores for Sony products, a significant rework and reduction of the building’s privately owned but publicly accessible spaces. Today, scaffolding surrounds the building, and workers were painting sheetrock in the lobby, which is closed to the public. The protest was tight-knit but attracted the attention of a few passerbys, including Noel Robichaux, a worker at the old Four Seasons restaurant who followed the restaurant when it left its Johnson-designed home last year. Robichaux hadn't known about the protest in advance, only noticed because he was passing by and said that he thinks it's "interesting that Phillip Johnson's work is under attack across the city," with two iconic buildings being assailed in such a short time. Although it wasn't present at today's event, the Municipal Art Society (MAS) is in talks with Snøhetta about the design. “We have significant concerns about the proposal,” said Tara Kelley, MAS's vice president of policy and programs. In addition to concerns about the integrity of the building, the group is also worried about the accessibility of the POPS. The redesign project team presented its plans to MAS recently, and the group's planning and preservation committee is meeting with stakeholders again soon for further discussion. One little-discussed feature of the now-sealed-off second floor space is two murals by abstract artist Dorothea Rockburne. MAS doesn’t have details on the fate of the Rockburn murals, but AN is in touch with the artist's studio and will be printing a follow-up story shortly. (Update: We got the latest from the artist herself.)
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Snøhetta set to overhaul Philip Johnson’s iconic AT&T Building

In the latest twist and turn in the saga of Philip Johnson’s notorious AT&T Building, the team from Norwegian design firm Snøhetta has released their plans to overhaul the base of the tower with a massive undulating glass façade that will override the monumental postmodern composition of the tower. The 1980s tower, located at 550 Madison Avenue, is the first major project to be announced as part of the New York City’s East Midtown rezoning plan. The work will focus on the public spaces at the street level, including a larger garden that will connect Madison Avenue and 55th Street as well as open up the brick façade and the retail and office spaces behind it. The Sony Corporation had owned the building since 2002 but left almost 2 years ago. It was bought in 2013 by the Chetrit Group and Clipper Realty, who had planned to turn it into luxury condos designed by Robert A.M. Stern. The plan was scrapped, however, when the firm started to second-guess the high-end residential market. Saudi Arabian investment group Olayan America bought the building for $1.4 billion and along with development partner Chelsfield America plans to turn it into offices. Snøhetta aims to “highlight the multi-story arched entry while revealing the craftsmanship of the building’s existing steel structure.” The first two levels will be publicly accessible. The garden will feature seasonal plantings that will be transformed over the course of the year and the owners hope that birds and butterflies will flourish in the new urban greenscape. Founded in 1947, Olayan America has its main offices in Athens, London, Riyadh and New York, where it is based and where it has had a continuous presence for more than 45 years. Read our followup here to see how architecture critics and others in the architecture community are weighing in on the proposed design. 
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MVRDV’s stacked desires, Zaha Hadid’s latticework roofs, and other updates from the architects of Instagram

At The Architect’s Newspaper, we’re plain addicted to Instagram. Sure, we love seeing Brutalist concrete through “Inkwell” or “Ludwig” filters, but there’s also no better place to see where architects are getting their inspiration, how they’re documenting the built environment, and where they’ve traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don’t forget to check out our Instagram account here.) Last Friday, Rotterdam-based firm MVRDV opened The Why Factory (W)ego: The Future City is Flexible, a bright new installation for Dutch Design Week 2017 in Eindhoven. According to MVRDV co-director Winy Maas, the project is "based on the hypothesis that the maximum density could be equal to the maximum of desires." https://www.instagram.com/p/BaguLgZBAbV/?taken-by=mvrdv AN contributor and designer Adam Nathaniel Furman shared an alarmingly value-engineered facade in the UK. Beneath the fake brick, a hollow duct–a compelling metaphor for our current newscape. In the comments, there is a bit of hope: Furman and friends list British architects who would never do such a thing, like Sergison Bates, FAT Architects, Outram, or Caruso St. John. https://www.instagram.com/p/Baqmp7ag80u/ Bloomberg is getting a new $1.3 billion, Foster+Partners-designed headquarters in London. The bronze fin-covered building boasts artwork and installations by Cristina Iglesias, Michael Craig-Martin, Olafur Eliasson, and Langlands & Bell. Eliasson's No future is possible without a past crowns a central room within the building, resembling the silvery surface of a pond inverted onto the ceiling. https://www.instagram.com/p/Ban9Gxvnt8u/?taken-by=studioolafureliasson Zaha Hadid Architects completed the King Abdullah Petroleum Studies and Research Centre (KAPSARC) in Riyadh, the capital of Saudi Arabia. The 70,000-square-foot, five-building complex includes an auditorium, library, exhibit hall, and a prayer room sheathed in white latticework (pictured below).  https://www.instagram.com/p/Barov2bFJr6/?taken-by=zahahadidarchitects
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Snøhetta and Clark Nexsen to design new public library in Charlotte

Snøhetta and Clark Nexsen have been selected to design a new main branch for the Charlotte, North Carolina public library system. Charlotte Mecklenburg Library, the official name for the public library system serving Charlotte and adjacent municipalities, includes 20 locations across Mecklenburg County and serves about one million patrons.  Snøhetta, which is based in Oslo and New York, is the design architect, while Charlotte-based Clark Nexsen is the architect of record. The team also includes brightspot strategy, a consulting firm that will the community engagement effort. The same team previously collaborated on the James B. Hunt Jr. Library at North Carolina State University in 2013, pictured below. This is one of four North American libraries Snøhetta is designing right now.  The new structure is intended to be a "public commons" that will inform the library's future programming, partnerships, and overall vision. According to Snøhetta, the Main Library structure–originally constructed in 1903 and replaced by another structure in the 1950s–will be demolished and replaced once more by the new design. No renderings are available at this time. "Libraries are more popular today than they have ever been, serving a wider range of needs than access to books only,” said ays Craig Dykers, founding partner of Snøhetta, in a prepared statement. “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." The library has earmarked $65 million in public funding for the project through the 2019 Mecklenburg County Capital Improvement Program. Private fundraising through the community will occur on an ongoing basis, but as of now, there is no set timeline for demolition or construction.
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Snøhetta designs Europe’s first underwater restaurant

On the southernmost tip of Norway, diners may soon be able to enjoy their meal under the waves. Snøhetta has revealed designs for a new underwater restaurant called Under. The renderings show a half-sunken concrete shell that rises from the ocean like a ruin. The building will also house a marine life research center, and was designed to co-exist with the marine habitat to eventually become an artificial mussel reef. According to the firm, the restaurant's concrete walls will be more than a yard thick to withstand the force of the ocean, while its smooth outer form is encased in a craggy surface that mussels can latch onto. The artificial mussel reef that forms over time will help to clean the waters and attract more sea life to the area. The underwater portion of the building, which comes to rest directly on the ocean floor 16 feet below sea level, opens at one end with a 36-foot-wide panoramic window that looks out into the ocean "like a sunken periscope." Even the lighting has been designed to co-exist with and encourage marine life, set to dim and also installed on the sea bed itself. The three-story building invites guests to descend from the coastline into the coatcheck area, then below to the champagne bar, with the dining room at the lowest level seating 80 to 100 guests. The menu, of course, features locally-sourced seafood. Beyond the restaurant's operating hours, research teams from Norway and elsewhere will be able to study wild fish behavior through the seasons and experiment with creating optimal conditions for sea life to flourish in proximity to the building, while the pathway to the restaurant will be planted with plaques that inform visitors about local marine biodiversity. While Snøhetta has made prior forays into waterfront and environmentally-conscious architecture, this is the firm's first underwater building.
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Snøhetta to restore access to Pacific Northwest’s largest waterfall

Snøhetta has released new renderings for the firm’s ambitious reimagining of the Willamette Falls near Portland, Oregon. The project aims to restore public access to the waterfalls by stringing a long, sinuous path through the formerly industrial site. (The Architect's Newspaper first covered the development when it was unveiled in 2015.) The Willamette Falls is the second-largest waterfall by volume in the United States and has been cut off from nearby downtown Oregon City for over a century. The falls are currently flanked by a collection of decrepit industrial buildings and a hydroelectric dam; some of those industrial buildings will be removed and replaced with native riparian landscapes while others will be redeveloped to accommodate new uses. The new renderings for the project depict a simply-articulated path connecting the various elements along the long, narrow, and linear site leading up to the falls. The proposed pathway—which has been designed to accommodate cyclical and historic flood levels and is seismically resilient—starts at the northern end of the site, where several old industrial buildings will be cleared away and a flour mill from the 1890s will be restored. The path here will connect to an old fuel dock that is being repurposed as a public vantage point and dock. After wrapping around the mill, the path transforms into a wide boardwalk overlooking the river that spills out onto a large public plaza framed by historic and new structures. A portion of the plaza wraps over the boardwalk to create a vantage point over the river. At the eastern end of the plaza, the elevated path picks back up, crossing over a creek in order to reach the a complex made up of more restored mill structures. Here, the mill structures—including antique boilers and other original machinery—will be preserved and opened for public use. The path splinters at the mill complex in order to provide elevated vangates and access to public terraces and groves of coniferous trees. The path ends at a broad promenade at the falls, where visitors can peer out over the dynamic landscape. Here, visitors can observe 360-degree views of the waterfalls and experience the cliffsides from pathways engineered to be supported by existing structures. The Willamette Falls proposal is scheduled to be unveiled June 3 at a public ceremony, and construction is expected to begin June 2018.
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Snøhetta will turn this old house at Harvard into ultra energy-efficient building

A green building research center at Harvard has enlisted Snøhetta to transform its headquarters into a test site for technology that may make it easier to retrofit older homes. Using its modest headquarters as a guinea pig, the Harvard Center for Green Buildings and Cities (CGBC) at the GSD will retrofit its on-campus home. Designed by Snøhetta, the HouseZero project revamps the CGBC's 1924 stick-built house to run without an HVAC system, without daytime electric lighting, and produce zero carbon emissions, among other efficiencies. The project is the brainchild of Ali Malkawi, professor of architectural technology at the GSD and the center's founding director. "Before now, this level of efficiency could only be achieved in new construction," said Malkawi, in a press release. "We want to demonstrate what's possible, show how this can be replicated almost anywhere, and solve one of the world's biggest energy problems—inefficient existing buildings." In the United States, 113.6 million homes use around ten percent of the nation's energy. Although there are plenty of new buildings that are net-zero, there aren't many practitioners working to bring older buildings—especially older houses—up to that standard. For the CGBC, which was founded in 2014 to promote high-performance building techniques through design, HouseZero is a major test project. Instead of considering the house as a sealed box, Snøhetta will create an envelope that passively heats and cools itself. The HVAC system will be replaced with thermal mass, while a ground source heat pump will provide extra energy to regulate temperatures in the warmest and coldest months. Clad in white cedar shingles, HouseZero sports ash and birch interior finishes, natural clay plaster, and reclaimed brick and granite—all high-performing, locally available materials. The building components are outfitted with sensors so the structure can adjust itself for thermal comfort throughout the day while collecting data for future retrofits. A lab inside will be connected to the energy exchange system so architects and researchers can swap and test new facades and materials to further optimize the structure's performance. The project's concept design was developed in collaboration with the Center and with Snøhetta, which will act as lead architect, interior, and landscape architect. (The U.S. branch of Norwegian construction company Skanska is working on the house, as well.) Though it could probably go LEED super-platinum, HouseZero's creators aren't setting out to build for any existing certifications. According the press release, the team "wants to demonstrate an entirely new paradigm for ultra-efficiency, one that is localized and focused on curbing energy demand, with energy production secondary to that." Construction is expected to take between seven and nine months.
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Snøhetta responds to Times Square pedestrian incident

When a car plowed through the ever-busy Times Square in Midtown Manhattan on Thursday, 22 people were injured and one was killed. However, things could have been much worse. The security bollards in the Snøhetta-design pedestrian plaza held strong and stopped the driver, Richard Rojas, from killing and injuring more people. His car came to a stop on two wheels, after being wedged upward by a 3-foot-tall bollard, manufactured by Calpipe Security Bollards and installed last fall as part of the plaza redesign. In response Craig Dykers, Founding Partner at Snøhetta, released the following statement:
Times Square is one of the densest and most visited places in New York and the world. One of the key challenges of transforming this congested vehicular district into a place for people was making Times Square more comfortable and natural to walk through, while securing it against unpredictable tragedies like the one that took place in the Square yesterday. We offer our sincerest condolences to the family of the victim and we wish a healthy recovery to the injured and those affected. In our work to make permanent the pedestrian plazas in Times Square, we managed a successful collaborative process with the city and specialized consultants to be sure pedestrians would be safe in the Crossroads of the World. Our method has been to protect the plaza areas while also using design elements that don’t overwhelm the public experience. We wanted to be sure safety measures did not define the public space while also creating highly effective protective features in the most populated areas. Bollards, in connection with other integrated security features, form the basis of the security design for the plaza. These elements allow for fluid and intuitive circulation between the plazas. This was a fundamental concept of the redesign as a whole, which focused on reducing visual and physical clutter and confusion in the Square, creating a simplified surface that allows people to move comfortably and naturally through the space. Without these considerations more people would have been affected by this tragedy so we are grateful to everyone on the team for designing these preventative measures. We will continue to analyze the character of this event alongside our partners connected to this work to further minimize the impact of any future situations without interfering with the open, vibrant and unique character of Times Square.
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Snøhetta masterfully creates a new museum setting for 17,000-year-old cave art

When I tell people my daughter lives in France, their first thoughts are of Paris. When I say the south of France, they think of Cannes, Nice, and Marseilles. Actually, she lives two hours east of Bordeaux in a beautiful region known as the Dordogne. Buried amongst the stately chateaus and castles is a collection of artwork that has captured the imagination of the world—the cave paintings of Lascaux. Discovered in 1940, these prehistoric works of art were created more than 17,000 years ago in Montignac, France. At first, the caves were open to the public, but were closed in 1963 when it was discovered that humans exhaling carbon dioxide were damaging the artwork. Lascaux II, a facsimile of the original, opened in 1983, and is located 600 feet away. But, even still, human traffic was damaging the original. Subsequently, in 2012, Lascaux III was created as a traveling exhibit and it is currently touring Asia. To bring this whole fascinating story back to life, after it had been closed to the public for over 50 years, a design competition was launched in 2011 to create Lascaux IV. Its mission was to bring this world heritage site out of the darkness and back into the public’s eye, to provide access to the Dordogne region of France as an international cultural and scientific attraction, and to create a greater understanding of the history and meaning that spawned this Paleolithic cave art. The design competition attracted many of Europe’s leading firms, including Mateo Arquitectura, Auer+Weber, and Ateliers Jean Nouvel. Ultimately, in 2013, the jury selected the design team led by Snøhetta, of Oslo, Norway, working with local firm Duncan Lewis and interior-exhibition designers Casson Mann of London. Jury member Bernard Cazeau, a senator representing the Dordogne, said, “From the point of view of the scenography—which was, in our eyes, an essential factor—it’s the most successful project.” Kjetil Trædal Thorsen, one of the founding architects of Snøhetta, explained that “during the process of copying, you discover new information. It was a huge research investment.” The architects and exhibit designers learned how the ancient artists thought and acted. Those painters would draw multiple heads on a horse to simulate movement as the horse swam across a river. The building and its multiple exhibitions work beautifully as an integrated sequence of spaces. Snøhetta is recognized for its integration of landscape and architecture. The Lascaux IV Museum is masterful in this regard. The museum forms the edge of a sloping forest adjacent to a broad field. “The building is an insertion,” Thorsen explained, “a negotiation between the forest and the agriculture.” It is possible to walk from the entry plaza up a slope to the top of the building, not unlike Snøhetta’s design for the Oslo Opera House. “The building is not an abstract,” Thorsen said. It brings the museum experience to a new reality, reminding us we are all part of a 20,000-year continuum. Many people, including this writer, were skeptical about the value of a museum with copies of the cave art. I had visited the original cave paintings in the nearby French town of Rouffignac and have been trained to value original artwork. So how would this team of architects and exhibit designers create a place that could teach us new things, touch our hearts, and move our minds? With imagination, innovation, and technology, they created a whole new world worth every hour of your time and then some. I envisioned a fake cave and a gift shop, but as I approached this bold incision in the landscape, set against the forested hillside, I realized there was much more to this museum than I had imagined. The building is partially buried in the hillside near the original caves. The sequence of spaces skillfully takes the visitor from outside to inside and back outside again. There is, of course, the re-creation of the original caves; with a change in light, acoustics, and humidity, you feel like you are entering down into the cave as the artists did more than 17,000 years ago. Your eyes adjust to the dim light, and the paintings come alive. Over 50 artists and sculptors from the Perigord Facsimile Workshop labored for three years to reproduce the shape and texture of the cave, and, using the same materials as the original artists, captured the color, shape, and form of over 600 animals, 400 signs and symbols, and one human with a bird’s head. The gentle curvature of the cave walls was used to simulate the curvature of the animals’ bodies. It’s impossible not to wonder about who these Paleolithic people were and how they lived. And why did they spend the time and effort to tell us their stories? After exiting the caves, you enter a series of additional exhibition halls and theaters. Pieces of the cave are re-created and suspended from the ceiling. Digital images, projected on the paintings, explain how the artists created layers of meaning over time. Thorsen explained that “the cave has a meaning in its own right. The cave is itself an artifact.” Three mini-theaters trace the history of discovery in the caves since 1940. Then, a separate space, framed by multiple suspended digital monitors, explores how the cave paintings have influenced contemporary artists. Museums have a dual function: first, to display the art within in a visually stimulating way that allows visitors to learn, to grow, and to explore. And second, to create an architecture that engages the community and makes a design statement of its own. Snøhetta achieves both with a deft hand and a keen eye. The image of the building against the forest at dusk is a dramatic sight, expecting to draw nearly half a million visitors per year.
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Snøhetta unveils plans for world’s first ship tunnel in Norway

This article was originally published on ArchDaily as "Snøhetta Unveils Plans for World's First Ship Tunnel in Norway."

The Norwegian Coastal Administration has revealed visualizations of the world’s first full-scale ship tunnel that would link two fjords on either side of the Stad Peninsula in Norway, allowing ships to bypass the “most exposed, most dangerous” waters on the Norwegian coast. With the project now in the feasibility stage, architecture studio Snøhetta has produced a series of rendered design concepts to help the project gain traction within the Norwegian government.

The Stad Ship Tunnel would measure 1.7 kilometers long, 36 meters wide and 49 meters tall—large enough to accommodate full-sized boats such as large cruise ships, sailboats, and coastal steamers. Traffic would pass through one way at a time, but even with a waiting period, the tunnel would chop off significant time and hazard from the existing route around the peninsula. Estimates show that between 70 and 120 ships could use the tunnel on a daily basis.

Working with Olav Olsen of Norwegian consulting firm Norconsult, Snøhetta has designed the two entrances to the tunnel using the material palette of the peninsula, with both wire-cut and blasted stone walls making up the opening arches. On the Moldefjorden side, the design would utilize the steep landscape to create a dramatic entrance. A more sensitive, terraced opening would pop out at Kjødepollen, where a small village is located.

The idea for building a ship tunnel through the Stad Peninsula has been discussed for over 100 years, with original plans documented as far back as the 1870s. Historians have even discovered that Vikings often preferred to portage their ships over the 1.7 kilometer stretch than sail through the dangerous seas.

Initial cost estimates for the project come in at 2.3billion Kroner (~$270 million USD). The Norwegian Coastal Association is hoping to receive a final political decision soon. If approved, construction could begin as early as 2019. News via Norwegian Coastal Association. Written by Patrick Lynch. Want more from ArchDaily? Like their Facebook page here. Archdaily_Collab_1
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Snøhetta’s Times Square revamp is finally complete

Last week, in that languid time between Christmas and New Years', the City of New York celebrated the completion of a major public works project—not the Second Avenue subway, but an above-ground reconstruction of one of the world's busiest intersections. Almost eight years ago, the NYC Department of Transportation (DOT) unveiled plans to dramatically transform Manhattan's Times Square. The $55 million vision, conceived by New York–based Snøhetta, replaced car-clogged streets with pedestrian plazas on Broadway in Times Square between West 42nd and West 47th streets. The project, which spans 85,000 square feet of former roadway, broke ground in 2013. Officials praised the improvements at a December 28 ceremony. “Being able to carve out two acres of new space for pedestrians in one of the world’s most popular plazas is a remarkable gift to the tens of millions of people who visit the ‘Crossroads of the World’ each year,” said Department of Design and Construction (DDC) commissioner Feniosky Peña-Mora, in a statement. “Times Square is now equipped with more resilient sewer systems, wider sidewalks, ample seating, and an emphasis on pedestrian safety that will serve generations to come.” Changes to the "bowtie" were first spearheaded by former DOT commissioner Janette Sadik-Khan. Now tourists and New Yorkers (if there are any who go willingly) can enjoy new benches, chairs, and tables dotting the five plazas, wider sidewalks, as well as a raised bike lane along 7th Avenue. "With the changes unveiled today, Times Square is now a safer and more welcoming place for the millions of residents, commuters and tourists who visit and pass through it every day," Mayor Bill de Blasio emphasized. "I am so proud that our agencies could come together and finish their incredible work before the new year, ending the disruption that invariably comes with big and complex construction projects.”
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2016 Building of the Year > West: San Francisco Museum of Modern Art Expansion by Snøhetta

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.

2016 Building of the Year > West: San Francisco Museum of Modern Art Expansion

Architect: Snøhetta Location: San Francisco, CA

The expansion of the San Francisco Museum of Modern Art reimagines SFMOMA as a new art experience and gateway into the city of San Francisco. Snøhetta integrated the building with the existing Mario Botta design from 1995, while making the museum more accessible than ever, tripling the amount of exhibition space and expanding the public gallery and outdoor areas. Seeking to engage with the community in a proactive way, the addition opens up new routes of public circulation through the South of Market neighborhood and into the museum.

General Contractor Webcor Builders

Facade Contractor Enclos

Lighting and Facade Engineering

Arup Structural Engineering Magnusson Klemencic Associates FRP Fabricators Kreysler & Associates Graphic Perf® Entry Panels Arktura Honorable Mention: Building of the Year > West: Washington Fruit & Produce Co. Office Headquarters

Architect: Graham Baba Architects Location: Yakima, WA

Tucked behind landforms and site walls, this courtyard-focused office complex provides a serene refuge from the noise and activity of nearby fruit packing warehouses. Taking cues from an aging barn, the building is light and open with a muted palette, reclaimed wood siding, and a rooted connection to the land.