Posts tagged with "Snohetta":

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Craig Dykers and Nic Rader on nature, architecture, sustainability, and everything in between

Recently Gregory Hurcomb sat down with Craig Dykers and Nic Rader of internationally-based Snøhetta to discuss some of their latest projects on the boards in the San Francisco office. Given the new SFMOMA, Hurcomb wanted to consider how they were moving forward with new and dynamic proposals that help rethink architecture’s relationship with landscape, nature, the public, and sustainability. As the firm often looks to engage the user in compelling ways through the use of vast spaces located somewhere between landscape and architecture, how do they work to create these places and think about the ever-evolving hand of the designer in relationship to the world’s ever-shifting environment.

The Architect’s Newspaper: Is there something new on the boards here in San Francisco?

Nicolas Rader: We have a project on the corner of Market Street and Van Ness, right near the office, in the heart of the downtown area. We’re working with a great client called Build, Inc., who does a lot of work and is very well respected in San Francisco. It’s a very ambitious project, a 40-story condominium tower, but to us, the most interesting part is the proposal to close down part of Oak Street where it meets Van Ness to create a new public plaza. Of course, the client has an interest in the tower, but they also really want to improve the neighborhood as a whole. It will provide an amenity that is really fantastic for the city overall.

Is the general plan to make it more pedestrianized?

NR: Yes, more pedestrianized. There will be some artistic wind canopies in the plaza as well. The intersection is incredibly windy and can be so strong that it often knocks people over. We’re currently working with engineers to figure out the structural optimization for those.

How would you say the firm approaches the idea of land and the natural? For the project here in San Francisco, we could consider the artistic wind canopies and look at wind as a natural phenomenon pushing against us. How does that connect to your design process?

Craig Dykers: Many people misunderstand our relationship with landscape. I think many people naturally assume that our work is to merge things together, to merge architecture and landscape and vice-versa. While that does occur on some projects, there are other projects where merging is the opposite of what we want to do. Sometimes you want to push back against nature. The more important issue is having a dialogue, and that is where we always begin. We always want to find out what the relationship of a condition is to a project. That could mean merging things, or it could mean ignoring them or to make a point, just so long as the dialogue exists. In that sense there is a character of understanding the invisible as well as the visible. Some of the context might be things that you can’t see: cultural context, psychological context, driven by things beyond the nature of sight, or the place itself. In addition, we do quite a good deal of branding and graphic design work as well. With identity creation, we also like to get physical, so that even our branding work very directly connects you to a place. For example, we most recently designed Norway’s new bank notes, which speak to the Norwegian coastal landscape.

Building on the connection between architecture and landscape, what would you say is your design approach? Is it cultural from the beginning, or is it more specific to the job and the client?

CD: We don’t necessarily think of ourselves as tailors but there is a certain degree of that involved.  Our projects often begin with conversations about what people might find valuable. Sometimes those conversations are internal among the design team; sometimes they are external. We often go out and talk to people in the community surrounding the site. We’ve begun many projects by interviewing people on the street. It’s always a little embarrassing to walk up to complete strangers and ask them to speak into a microphone when you’re not a TV or media journalist, but it’s important for us to hear what they have to say. We also work closely with specialists to hear what they think and we try to create something that is built around all of those understandings. Now that doesn’t mean that if someone says this we say the same thing back. We’re not just a sponge. We also have our own ideas and ways of seeing things. And that is the core of how a project begins: can we create something that is surprising and familiar at the same time?

NR: We often approach a project with questions, even if we think we know the answers. Certainly, we contribute some answers but we gather as much information from others as we can just to get a more holistic view. Then, we apply critical filters to it to better understand the best solution.

CD: Many architects today rely on a form of abstraction in their research. Mapping technologies and other ways of analyzing information are very interesting to us. But our work is always grounded in a more intuitive understanding, and a less abstract way of manipulating knowledge.

What does sustainability mean to the firm?

CD: Well, there are many types of sustainability: economic sustainability, cultural sustainability, environmental sustainability, and one of the things that we like to talk about is intellectual sustainability. How can we expect to manage nature if we can’t manage human nature? Human nature, emotions, and perspectives are all somewhat out of our control. You just have to pick up the newspaper to see all of the rivalries and polarity that exists in the world. Our work tries to create a sense of intellectual capacity through socialization. A kind of social interaction that builds awareness that will help people commit to other, more direct forms of sustainability, like environmental sustainability.

NR: In a way, I often think it’s sort of dangerous even to talk about sustainability because it’s something that should be inherent in practice and in discourse. By calling it out as something special or something separate assumes that some people choose to ignore it, which in itself is a problem. My approach is a little bit different because I don’t sit here and talk about sustainability. I wouldn’t consider myself ‘green’, or even talk about intellectual sustainability, but it’s something that I try to integrate into the way that I think and practice.

Well I bring it up mainly because I think because it is a somewhat contentious word these days, and possibly always, because there is a movement that is associated with “green” architecture. One of the noteworthy aspects about Snøhetta for me is an inherent ecological awareness and a certain connection to the earth in your projects.

NR: What I appreciate about our work and our approach is that we’re not known as “sustainability architects” or “sustainability designers.” It’s embedded so deeply into our design that there is an assumption—and a genuinely accurate assumption—that it’s just there.

CD: What you’re saying is really important. I think many people who are working with this mindset have sort of marginalized themselves. They’ve said, well, we’re not like those people over there, we’re like these people over here, and you’re either one of us or one of them. And I don’t think that’s healthy.

In some regards perhaps it is too isolationist of a stance. We’ve created a camp or a group and we’re just over there talking amongst ourselves with this singular set of concerns, these particular thoughts and ideas.

CD: And then the conversation becomes, “if it doesn’t look environmentally sustainable then it can’t possibly be,” or “if it looks good then it can’t possibly be environmentally sustainable.” Or more often, it goes in the other direction, where someone says it’s ugly, therefore it must be environmentally friendly. And on that note, I’d like to consider the notion of interactivity and the promotion of diversity in architecture. I think it does have a very large impact eventually on how we function as a society in dealing with very large complex issues, like the environmental conditions of the earth we live on. You won’t be able to solve it one building at a time, although that helps. But you also have to create a condition where people start to think differently about who they are when they walk through a city, or when they walk into a building. They are thinking about their place in this wider world that we all live in…and that is where intellectual sustainability supports environmental sustainability.

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Snøhetta showcases its design process at Portland exhibition

Design Week Portland kicked off Sunday, April 17, and the Center for Architecture in Portland, Oregon, was on the frontline with the exhibit Snøhetta: People, Process, Projects. Running until June 30, architecture and design firm Snøhetta compiled the material and designed the exhibition that serves as a retrospective and foretells of things to come. Originally shown in Copenhagen, this is the firm’s first extensive exhibition in the United States.

Previously on display last summer in Copenhagen, the exhibition highlights the firm’s work in Oregon on two large wall panels: The James Beard Public Market in Portland and the Willamette Falls Riverwalk in Oregon City. A fair portion of the exhibition covers the San Francisco Museum of Modern Art with a site model, large-scale facade study, detail drawings, and several renderings—a variety that feeds an architect’s curiosity. The breakthrough Alexandria Library in Egypt and the Norwegian National Opera are included, as well as several net-positive energy buildings and more libraries that are underway in Philadelphia and Far Rockaway, Queens.

The exhibition excels at displaying Snøhetta’s process. A wall graphic shows the diversity of office locations and staff, and several panels comprise the communal table that represents the center of the office—both in practice and in headquarters—in Oslo, Norway. But the study models, material samples, and inspirational pieces give more insight into the firm than could renderings, which are just as flat here as in any publication or on any screen.

Scale models convey context, form, and texture—the last especially in the study for the Vulkan Beehives installed in Norway. They’re really just a second skin wrapping a traditional apiary, but they’re a beautiful way to bring attention to a vital function of our ecosystem. Mock-ups of glass frits provide support for display panels of their respective projects. White boards offer areas for visitors to comment on the James Beard Public Market…and, perhaps unintentionally, other projects. All are aspects that make the physical display more than a just a catalogue made large—the exhibition is an interactive process.

A really cool aspect of the exhibition is the lounge that was created in the reception area. Angular seating lines one wall, and a low table with seating provides a place to flip through a number of Snøhetta’s publications, chat with friends, or take a break from the jam-packed events during Design Week. Hopefully it remains as a future amenity.

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Snøhetta unveils further renders of Philly’s Temple University Library

At the start of the year, AN reported that Oslo and New York-based firm Snøhetta's library for Temple University Library had the potential to spell the end of books. This would be the firm's eleventh library, and while Snøhetta has opened a book-less library before in Toronto for Ryerson University, this design emphasizes transparency and openness as key themes. Evidenced in Snøhetta's latest renderings, a glass curtain wall wraps round the library's upper floors allowing light to fill the space. Snøhetta's nighttime render, however, finally shows people what the interior of these levels will encompass. In terms of its interiors, the 225,000-square-foot building appears to extensively make use of wood detailing in sweeping archways that form the main entrances and atrium. On the ground floor, wood is used as a balustrade to surround circular void, stairways and interior cladding. Despite advocating the use of an automated storage and retrieval system (ASRS) that allows the library to devote more square footage to “learning spaces” and less space to book stacks, space for some books can still be seen in Snøhetta's latest renderings. Located on the top floor, the books form part of a large study space that is bathed in daylight. The library is one part of a $300 million campus expansion plan that includes a to-be-built quadrangle, the public space at the heart of the campus’ new social and academic core. The library, which is the university's most expensive construction project to date, is due to be complete by 2018.
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Inside Snøhetta’s addition to Mario Botta’s iconic SFMOMA

San Franciscans have already marked their calendars for the May 14 opening of in downtown San Francisco. The 1995 striated-brick building is being greatly expanded and reorganized in a scheme that triples the museum’s exhibition space while adding a new main entry along Howard Street. The project was developed as a public-private partnership with the Doris and Donald Fisher Collection, which agreed to display works from its private collection at SFMOMA for the next 100 years. 

The 10-story, 235,000-square-foot expansion by the Norwegian firm is set back from the Botta structure, adding a funny hat to an already funnily hatted building. Craig Dykers, co-founding partner of Snøhetta, said in a statement that he wanted the new addition to “rise like a continuation of the [original building’s] terraces, even while offering a new image that reflects the Bay Area’s natural setting.” New and old meet at a two-foot-wide seismic joint separating the two structures so that in the event of California’s next “Big One,” each building will be able to jostle independently, minimizing damage.

The new, rectangular structure meets the narrower Botta building along an entire facade, running across the block’s full width, from Minna Street to Howard. The latter entrance is flanked by a two-story grow wall containing 16,000 plants that runs along an interior courtyard resulting from the main building’s stepped facade. Maple-surface amphitheater seating and Richard Serra’s monumental Sequence sculpture are located on the ground floor and adjacent to this courtyard. These features help pull the public into the museum’s first two floors, which will be free to all.

The addition’s facade is clad in 700 custom fiberglass reinforced polymer (FRP) panels that project from the curtain wall. These panels are rumpled horizontally, creating an articulated facade that folds in and out of the ascending mass. Panels incorporate silicate crystals taken from nearby Monterey Bay in order to dapple light along this east-facing exposure.

The remaining entrance along Third Street leads to the original building’s giant, oculus-topped atrium. Here, Botta’s grand staircase, no longer up to code, has been completely removed, allowing the oculus to fill the massive hall with light. This begs the question: with the impending opening of what will be the country’s biggest modern art museum, is it morning in San Francisco?

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A Snøhetta-designed landscape takes shape around the MAX Lab IV particle accelerator

This synchrotron radiation laboratory—basically a fancy term for a type of particle accelerator—dubbed MAX IV is set to open outside of Lund, Sweden this summer. (If you want to get more technical, synchrotron radiation involves charged particles releasing electromagnetic energy when they’re forced to move fast along a curved path. Objects in space can naturally emit synchrotron radiation, too.) Designed by Swedish-based architecture firm Fojab, with landscape design by Norway- and U.S.-based Snøhetta, the lab will hold two storage rings. They're curved to allow charged particles to move close to the speed of light. The landscape design and larger ring—approximately 1732 feet in circumference—will open this summer. (We can’t help but point out that the lab bears a resemblance to the under-construction Apple 2 campus.) In designing the landscape for the sloping 45 acre site, Snøhetta looked to the surrounding area (which is mostly agricultural) and the planned accelerator's curves. Their design features waves of grass meadows forming mini-valleys oriented. Snøhetta focused on four key needs: minimize ground vibrations, include storm water management, define plant selection and maintenance, and reuse excavated land. “A cut and fill strategy was needed to keep the existing masses on site as it secures the option of reversing to agricultural use when the synchrotron no longer will be on the site,” said Snøhetta in a release. “By uploading the digital 3D-model directly into the GPS-controlled bulldozers, we were able to relocate the masses to their final position in one operation.” Their design will include local grasses and feature two ponds (wet and dry) for storing storm water on site. Sheep will help maintain the meadows and the valleys will help with storm water management. Construction is wrapping up on the MAX IV Lab. (Ground breaking was in 2010.) The lab is part of Lund University and also operated by the Swedish Research Council and will replace the three previous synchrotron labs at the University—MAX I, II, and III. Funding for the project is coming in part from Lund University, the Swedish Ministry of Education and Research, and the Swedish Research Council. There are many synchrotron radiation facilities around the world. The largest one is the famous CERN Large Hadron Collider in Switzerland with a 17-mile circumference.
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Snøhetta’s first full-scale U.S. exhibition will open in Portland

Starting April 17, the nonprofit Center for Architecture in Portland will host the first full-scale exhibit on Snøhetta (see AN’s interview with founding partner, Craig Dykers) in the United States. The Norwegian and American firm is known for their international institutional projects: public and academic libraries, museums, opera houses, and more. In the U.S. they are working on projects like the Times Square reconstruction to the upcoming James Beard Public Market in Portland, a concept for the Willamette Falls River Walk in Oregon, the SFMOMA expansion opening this May, and an extension to the French Laundry Kitchen in Yountville, CA. The exhibit, Snøhetta: People, Process, Projects, features sketches, renderings, and models that provide a peek into the firm's process. The firm's architects and designers produced and curated the exhibit, too: “Join us at the lunch table or inside the workshop, where 3D prototyping and traditional craftsmanship drive conversations and exploration of new forms,” they said in a release. It’s a traveling exhibit of sorts—the exhibit made its first appearance at the Copenhagen Danish Architecture Centre last summer. The exhibit starts the first day of Design Week Portland, a spring design-oriented festival in The City of Roses that ends April 23. There are events on restorative design, data storytelling, restaurant design, and more, as well as design studio open houses throughout the city. (Seattle, by the way, has an equivalent event in September, hosted by Design in Public. The theme this year is Design Change.) The exhibit runs through June 30.
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Does Snøhetta’s design for a new library at Temple University spell the end of books?

Libraries are temples for books, though Snøhetta's plan for a new library at Temple University in Philadelphia argues that you can have one without the other. The design of the Temple University Library is influenced by the academies of ancient Greece, which privileged social spaces for discourse over the storage and management of written materials. It almost seems as if  the Oslo- and New York–based firm is pioneering a new typology within its own practice. In December 2015, Snøhetta unveiled its "library without books," also based on the Greek stoas and agoras, for Toronto's Ryerson University. Including Temple, Snøhetta has designed eleven libraries, both standalone and as part of larger programs. Although Ryerson's library was built first, Snøhetta has been in talks with Temple about a new library since 2013. The library's wooden arches mark entryways that slice into the rough stone facade. Steel mullions support pleated frameless glass windows, increasing transparency from the outside at the main entrances. Arches continue into the sweeping main lobby, where a three-story, domed atrium features an oculus that serves as a wayfinder by opening up the library's upper-floor functions visually to students in the main lobby. A cafe and a 24/7 study space on the ground floor round out the interior program. Classroom space extends outside, with stepped seating on the green roof and ground-floor plazas to encourage congregation. To manage Temple's two million-plus books, periodicals, DVDs, and other materials, the new library uses an automated storage and retrieval system (ASRS) that allows the library to devote more square footage to "learning spaces" and less space to the stacks. The video below shows an ASRS in action at Santa Clara University. https://www.youtube.com/watch?v=ez9Z7rHqk1Y The idea (ideal, to some) of libraries as musty repositories of hardcopy information is patently outdated. Librarians are quick to embrace their role not only as collection managers but as communication and content facilitators, whatever the medium. The impulse behind the design, however, recalls the failed 2012 Foster + Partners redesign the New York Public Library's main branch on Fifth Avenue at 42nd Street. Plans called for removing seven floors of stacks under the Rose Main Reading Room to create a 300-person workspace. New York culture leaders widely criticized the plan for moving most of the library's books off-site, or underground. (Dutch firm Mecanoo was awarded the commission in September 2015.) Though the top floor at the Temple Library is programmed for a sunny reading room with stacks, books are explicitly not the design's focus. It's worth noting that around 1,800 years passed between the founding of Platonic Academy and the invention of the printing press. The ancient Greek academies privileged social space over materials management because there were far, far fewer books; information transmission today takes place primarily though image and text. Perhaps the invocation of the scholarly ancient Greeks softens the capitulation to a depressing reality: the 2010 Collegiate Learning Assessment found that one-third of college students read less than 40 pages per week for classes. The library is one part of a $300 million campus expansion plan that includes a to-be-built quadrangle, the public space at the heart of the campus' new social and academic core. Construction of the library should be complete by 2018.
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SHoP, Snøhetta, and Adjaye named finalists for the National Veterans Resource Complex at Syracuse University

London-based Adjaye Associates, New York–based SHoP, and Oslo/New York–based Snøhetta have been announced as design finalists for Syracuse University’s new National Veterans Resource Complex (NVRC). Selected out of 28 other firms, the three finalists will now visit and engage with the university and veteran community to develop proposals for the multi-use facility. The NVRC will be home to the University’s Institute for Veterans and Military Families (IVMF) as well as the school's Regional Student Veteran Resource Center, the Army Reserve Officers Training Corps, the Air Force Reserve Officers Training Corps, the National Center of Excellence for Veteran Business Ownership, Veterans Business Outreach Center and Accelerator, as well as the University’s Office of Veteran and Military Affairs. The building will be programmed with classrooms, a conference center, gallery space, and a 1,000 seat auditorium to facilitate local and national veteran-focused events. The site of the project is tentatively set for the western end of the Waverly block, which will be visited by each office in the coming weeks. Their visits will also include meeting with the campus community to discuss the possibilities of the project in preparation for the presentation of their final design proposals in April. Also planned for March, the Syracuse University School of Architecture will facilitate lectures by each of the firms. In a statement David Adjaye discussed the relation of his practice to the goals of the University and the NVRC, “Syracuse University’s ambition to make the NVRC a combined educational and community centre as well as a national hub for America’s 22.8 million veterans and their families resonates deeply with my own commitment to architecture that empowers communities and has global resonance.” Both SHoP and Snøhetta remarked on the honor of working on a project for the veteran community. William Sharples, principle at SHoP, noted, "The NVRC at Syracuse University will occupy a special place in the life of the city, the campus, and the community of veterans nationwide it is intended to serve. Everyone at SHoP is honored to be a part of this process." Craig Dykers, founding partner of Snøhetta echoed Sharples, “The poet RJ Heller once wrote, ‘In the aftermath we are because they were.’ Courage is contagious and being a part of this process at Syracuse to benefit our veterans in a groundbreaking new facility is exciting and humbling for all of us at Snøhetta. This is more than a handshake: we are doing something revolutionary for those whose origins are from the same stuff.” Along with competing to design the NVRC, each of these three offices is also contending to design the Obama Presidential Library in Chicago.
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Obama Foundation announces seven offices to submit proposals for presidential library

The Barack Obama Foundation has announced the seven offices from which it is requesting proposals for the design of the Obama Presidential Library in Chicago. The seven firms include four New York–based offices, one London-based office, one based in Genova, Italy, and one local Chicago office. The offices named are: Picked from over 150 firms who submitted to the Foundation’s request for qualifications issued in August, the seven firms will now be asked to present designs to the President in the first quarter of 2016. If Adjaye or Piano are chosen, they will be the first foreign-based offices to design a presidential library. The selection of the perspective architects comes after a long selection process for the site of the library itself. Not without some controversy, the South Side locations were chosen out of possible sites in New York, Hawaii, and another in Chicago. Public space advocates, Friends of the Parks, argued that the library, technically a private institution, should not be allowed to be built in the city’s public parks, an issue the current Lucas Museum is also dealing with. This was overcome with the help of a deal made by Mayor Rahm Emanuel which would transfer control of the land away from the park system. Each office will submit conceptual designs for both of the possible 20-acre South Side Chicago sites: one in Washington Park and one in Jackson Park. The $500 million project will include the presidential archive, a museum, and office space for the Obama Foundation. After reviewing the proposals, the Obama family and the foundation are expected to make a decision by summer 2016, the expected completion of the project being in 2020 or 2021.
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Pershing Square Renew wants your input on Semi-Finalist Concept Boards

In October, Pershing Square Renew selected 10 teams as semi-finalists for the redesign of Downtown Los Angeles’ oft-maligned urban space. The international design competition drew hundreds of entries and the two-handfuls selected represent both local and global practices. Reviewing the initial presentation boards, there’s common interest in opening up Pershing Square to the surrounding urban blocks, a porosity currently lacking in Legoretta’s scheme. The teams’ approaches are split between active and passive landscapes with some concepts showing large lawns and water features meant for calm reflection and light recreation, others packed the square with programming: dog parks, cafes, yoga zones, performance venues, etc. Pershing Square Renew posed the concept boards on their website and are now asking the Los Angeles community to weigh in with comments for the jury. Soon, the organization will select four top teams out of the field of semi-finalists and have them each develop a more comprehensive final design. Until then, have a gander at the boards below.
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Archtober Building of the Day 27> National September 11 Memorial Museum Pavilion

National September 11 Memorial Museum Pavilion 180 Greenwich Street, Manhattan Snøhetta The Survivor Tree lived on the site of the original World Trade Center. After the attacks on September 11, 2001, the burnt and ailing pear tree was removed from its home and nursed back to health. It has since returned and continued to flourish, and has become a symbol for recovery and resiliency. From a spot beside the tree, the glowing National September 11 Memorial Museum Pavilion appears to grow straight out of the ground, itself representing the past and promise of the future. On the 27th Archtober tour, Aaron Dorf from Snøhetta explained that the firm had initially worked on a different project for the site that didn’t go forward, but the team was asked to return and design a welcome center that could address the museum’s security issues. The entrance to the museum presented an entirely new set of security challenges, and Snøhetta was tasked with finding a creative solution. The pavilion’s program expanded to include not only the security-screening lobby, but also a private room for victims’ family members, an auditorium, a café, and myriad back-of-house mechanical services for all of the buildings on the site. In addition to being a transitional space for visitors between the memorial plaza and the below-ground museum, the building is also a vent, allowing air to move through the slatted wood ceiling and perforated metals. Visible through the transparent facade, original steel columns from the World Trade Center  anchor the building. After being removed from the rubble at Ground Zero, these imposing columns were rebuilt and re-engineered. Although they do not serve any structural purpose, the building was designed around them. Referred to as “tridents” because they branch out into three prongs that formed the small but distinct windows of the World Trade Center towers, the dark structures, standing amid the building’s muted tones, set the tone. A prefabricated web of steel beams provide the necessary structural support without distracting from the tridents. Their asymmetrical pattern, however, adds texture and movement next to the glass walls. From inside, they do not diminish views of the site and the surrounding buildings. The mix of raw and highly refined materials, rough concrete and polished wood side by side, creates an intimate space that gently leads visitors into the museum below, and also helps them readjust when they leave. The relatively small building rises like an urban bridge between the vertical towers around it. It is a bridge between the museum below and everything above, between natural and artificial light – and between the past and the future. Emma Pattiz is the Policy Coordinator at the Center for Architecture and the AIA New York Chapter.
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Semi-finalists Announced for Pershing Square Competition

A shortlist was announced for the Pershing Square Renew competition. Ten teams were selected to have a chance at a crack at redoing Ricardo Legorreta's scheme. The five-acre park is seen as the centerpiece of a revitalized Downtown Los Angeles and the competition, a public-private partnership backed by councilmember José Huizar, is a critical step toward that effort. The ten semi-finalists are global, national, and local—and often in combination. They include: Paris-based Agence Ter with SALT Landscape ArchitectsSnohetta, James Corner Field Operations and Frederick Fisher and Partners, New York-based W Architecture, San Francisco-based PWP Landscape Architecture with Allied Works Architecture, Mia Lehrer Associates with NYC’s !Melk, Peterson Studio + BNIM, Rios Clementi Hale with OMA, SWA with Morphosis, and wHY Architecture These teams will continue to develop designs, which will be reviewed later this fall and a group of four finalists will be announced in December. Pershing Square Renew will select a winner in February 2016. On bets as to who might emerge from the pack, it seems that the organization is looking for details over gesture. “Their challenge isn’t to win awards; it’s to win over hearts,” said executive director Eduardo Santana. “More than anything else, these groups need to focus on the experiences their design will inspire and the memories the Square will create.”