Posts tagged with "Snøhetta":
Community Board 5 is experimenting with a temporary pedestrian plaza and sidewalk expansion around Penn Station to manage foot traffic around one of the busiest rail stations in the world. A guiding vision behind these projects is to link Penn Station and Madison Square Garden to the more pleasant Herald Square and Greeley Square area. Snøhetta designed the master plan for the area while Brooklyn's W Architecture & Landscape Architecture, working with Production Glue and in partnership with Vornado Realty Trust, designed Plaza33 on 33rd Street between 7th and 8th avenues. The plaza is intended to create a smoother gradient between the street and the sidewalk to streamline pedestrian flow. The trial period for Plaza33 began July 19th and runs through October 11th. So far, Plaza33 has received positive feedback from Community Board 5's constituents. Street furniture, including hybrid benches and planters, offers a place for pedestrians to relax and socialize. Public art by Keith Haring and Roy Lichtenstein enlivens the corridor, while community programming, including yoga and film screenings, are planned to activate the space. The West 32nd Street sidewalk expansion transforms the space more minimally but is far more controversial. In principle, residential and commercial stakeholders on the target blocks strongly support the plazas. In practice, however, the re-arrangement of space creates conflicts for users. Loading zones on 32nd Street were reduced by 500 feet. Trash collection, boarding for the M4 bus, and services for residential tenants compete for only 180 feet of loading space. Vornado is working with property owners and renters on the block to mitigate the impact of reduced street space. It remains to be seen whether these problems can be resolved to the satisfaction of all (or most) parties before the end of the trial period.
[Update: While Snøhetta is drawing up the master plan for the area around Penn Station, Brooklyn-based W Architecture and Landscape Architecture, working with Production Glue, designed the new Plaza33.] Turning the truly miserable blocks around New York City’s Penn Station into a pleasant and calming retreat would appear to be an impossible undertaking. But Vornado Realty Trust—the primary property owner around the station—believes it can do it with the help of some experienced, Norwegian architects. Enter: Snøhetta. In June, it was reported that Vornado tapped the Oslo- and New York–based firm, which is also sprucing up the pedestrian environment around Times Square, to revamp its building stock in the area and generally improve the street-level experience around the station. This undertaking would kick off with a temporary public plaza on a stretch of West 33rd Street, designed by W Architecture and Landscape Architecture. That plaza, called Plaza33, is now open, and to the designers' credit, people seem to be really enjoying it. (Again, remember that it is right next to Penn Station, a notoriously overcrowded and people-unfriendly part of New York City). "Long talked about as a vital yet underutilized and underdeveloped part of Manhattan, Plaza 33 reinvorgates the area around Penn Station and Madison Square Garden with public activities and a new food hall," said W Architecture in a statement. "The architectural and landscape interventions in the plaza are temporary, so the design and construction of the plaza employed very innovative techniques to both accommodate thousands of people per day and provide a respite in one of the busiest ares of Manhattan." The plaza features a stepped, wooden amphitheater with overflowing planters. These materials are repeated with benches that also function as flower boxes. The roadway has been painted blue with diagonal stripes cutting across it. The plaza also features sculptures by Roy Lichtenstein and Keith Haring. The move is part of the popular Tactical Urbanism movement that encourages experimenting with public space—in this case temporarily shutting down a street—to figure out new ways to interact with cities. The concept holds up short-term actions as a generator of long-term change. Times Square, years ago, underwent similar temporary transformations leading up to its ongoing permanent redesign. Plaza33 will be used to host concerts, fitness workshops, movie screenings, and games. (A full lineup of events is here.) But all good things apparently must come to an end. The plaza will be disassembled on October 11th. But could we see a more permanent solution in coming years? New Yorkers will likely vote with their feet. [h/t StreetsBlog]
Wave-like composite facade animates SFMOMA expansion.While visually interesting, the primary facade of the SFMOMA expansion (Snøhetta with associate architect EHDD) was not originally designed to pioneer a new material system. All that changed when William Kreysler visited the architect's New York office. "I went there to meet them about the interior," recalled Kreysler, whose firm—composite specialists Kreysler & Associates—had been called in to advise on the project's vaulted ceilings. "I asked about the exterior, how that was going to get done. They didn't know." Over the coming months, Kreysler & Associates transitioned from interior consultant to envelope fabricator as the facade itself was transformed from a ductal concrete fantasy to a fiber-reinforced polymer (FRP) reality. Along the way, thanks to a patent-pending process developed by Kreysler & Associates, the design and fabrication team positioned itself on the cutting edge of high performance building enclosures with the first major use of FRP cladding on a multi-story facade in North America. When a client's representative called to ask if his firm—at that point poised to collaborate with an outside glass fiber reinforced concrete (GFRC) contractor on mold-making—would consider taking on fabrication themselves, Kreysler's reaction was mixed. "I said, 'Yes, I don't see anything particularly complicated about it in terms of fabrication,'" he recalled. "The problem was the fire codes. No one in the [FRP] business had attempted to pass the fire code requirements." Kreysler & Associates had been keeping abreast of the regulatory situation, and had been involved in inserting a new section for FRP into the International Building Code[s]. But the fire code test itself, NFPA 285, is expensive. After further conversation, the client committed to partially fund the test. "We got to the point where I said, 'Okay, I'm willing to put some money at risk here,'" said Kreysler. "We went ahead and did it." Kreysler & Associates' system, which they call Fireshield 285, passed the test, likely becoming the first FRP cladding panel to do so. Having thus paved the way for a more widespread application of the lightweight material to building exteriors, the fabricator's next step was to bid to three facade companies. Of the firms to which they introduced their design, Enclos was the most engaged. By the end of the first meeting, Kreysler & Associates and Enclos had brainstormed ideas to eliminate the secondary structural frame intended to go in front of the weatherproof wall specified in the original design. Soon the group introduced an additional innovation. Enclos is known for its expertise in unitized panel systems rather than conventional walls, explained Kreysler. "We said, 'Maybe we could make our material so lightweight, we could just fasten our material onto the front of the unitized wall panel.'" Kreysler is quick to give credit to Enclos "for seeing the potential and sharing their expertise in building facades so we could work collaboratively to take full advantage of both systems' strengths." With a combined composite-unitized wall panel assembly, one team of contractors could erect the entire rain screen in a single shot. "It would save one million pounds of structural steel, plus the time of going around the building three times," said Kreysler. Not surprisingly, "the contractor liked it, and the owner liked it," he recalled. Only one obstacle remained. "Unitized wall systems are designed to go in straight lines, or if curved, are curved in a radius," said Kreysler. "But if you look at the facade of SFMOMA, it's all over the place." The Kreysler & Associates-Enclos team quickly developed a solution: Kreysler & Associates would fabricate their panels with edges of different depths to bridge the gap between the facade's surface and the flat unitized panel wall. "We were able to create a curved front even though the the wall behind was a nice straight line," explained Kreysler. "From the front of the building you don't see any of the edges—you see this flowing curved line. That was a big breakthrough, and as a result, Enclos really got behind our system." The client was suitably impressed, and Kreysler & Associates won the contract against bids involving GFRC systems. "Even if our price turned out to be higher, the benefits of only going around the building one time, and the benefits of a system considered to be a higher-quality weatherproof wall" won out, said Kreysler. Though the expansion is not expected to open until 2016, Kreysler & Associates' work on the project is finished. The installation went "beautifully," said Kreysler. The 710 unique FRP panels were mechanically fastened and bonded to the unitized wall using a custom aluminum extrusion. The Enclos representatives had been nervous, he recalled. However, "the project manager told me that in the years he's being doing this, it was the most complicated project he's ever done, but in the end this was the most straightforward part of the project." As for Kreysler himself, he has no regrets—quite the opposite. "It was tricky, but it was fun and interesting," he said. "And it was nice to know that we were breaking new ground."
In observance of the 60th anniversary of the Series 7 chair, furniture manufacturer Fritz Hansen enlisted seven architects to re-envision the classic Arne Jacobsen design. Explaining the impetus behind the program, Jacob Holm, CEO of Fritz Hansen, said, "If we fall asleep on top of our heritage, design becomes museum items. And if that happens, it (design) no longer adds new value to the present time." The participating firms—BIG, Snøhetta, Zaha Hadid, Jean Nouvel, Neri & Hu, Jun Igarashi, and Carlos Ott in association with Carlos Ponce de Léon—certainly created some eye-opening interpretations of the chair. The architects' comments on their designs reveal their inspirations and intentions. Bjarke Ingels Group "The inspiration for the design is the materiality of the chair, the essence of the layered veneer and the functionality of the stacking. The final result is a subtle repetition of the iconic form language." Neri & Hu Design & Research Office "The idea of a replica, a re-edition, hinges on the duality between the original and the re-design. Our take on this project is to embrace this exact idea of duality and create an actual 'double'. The doubling of two original seats facing each other becomes the new version: The singular chair multiplied as the individual becomes a community. Reminding us that we are never alone, but always together." Jean Nouvel Design "Our chair is an example of Jean Nouvel's design signatures: contrasting colors and juxtapositions. Black and white mark each chair—although they still play together in a feminine and masculine flow. Creating a reinforcement of the curves of the front and of the back of the shell." Zaha Hadid "The provision for this chair was to create a harmonic transition from the existing shell and how it can effortlessly touch down on the ground. This special edition formalizes the Series 7 chair as a dynamic and seamless expression of structure and support. Formed from two continuous steel rods, the sculptural base sweeps down to the ground and reaches up to embrace the undulating shape of the iconic plywood seat." Jun Igarashi Architects "When buildings collapse during earthquakes, the building materials are wasted. Our idea is to collect the waste wood, introduce a color and process it into boards that can be used for furniture." Carlos Ott Architects in association with Carlos Ponce de Léon Architects "The chairs have been intervened the same way a vertical garden grows organically up a wall. The upholstery climbs and settles peacefully on the shell of the chair. The curved lines which compose the foundation of the different areas in the garden are mimicked and adapted to the anatomy of the chair". Snøhetta "We nurture differences. When opposites meets, they conjure an interesting dialogue. When nature meets the cultivated, when humans interact with architecture, when soft and hard co-exist—interesting things happen. "Maybe the Series 7 chair with its metal legs and wooden seat acknowledges this juxtaposition. We wanted to explore the soft side of the chair. "The wood is a representation of softness in contrast to metal. A legless construction is free and indeterminate. It is versatile and simple. And maybe it can be a symbol for social interaction and playfulness. If we add even more softness to it we might be able to create a new user experience, additional functionality. We want it to be a multifunctional social tool in both singular and plural contexts. You can sit in any formation dictated by any social scene you are in. It can be a singular, free, soft chair or a plural one in a fixed social situation." The chairs will travel to design festivals in London, Copenhagen, and Gent, Belgium before being auctioned to benefit UNICEF.
Snøhetta brings a touch of modern design to the old cable car with this winning gondola in the Italian Alps
Norwegian architecture firm Snøhetta has been selected as the winner of a competition to design a cable car that will take visitors to the top of Virgolo Mountain, near Bolzano, Italy, for the first time in 40 years. The mountain has been practically inaccessible since the city closed its historic cable railway in 1976. The new cable car transit system will take visitors to the top in just one minute. The design is based on two rings. One forms the base station, the other the top station, while the cable connects tangentially. It makes the summit just a five minute trip from the city center. The new cable car also interacts with the city via a landscape at the end of the Südtirolerstraße, which brings nature into the city. At the top, a restaurant, café, infinity pool, and meeting rooms with views of the city and surrounding countryside are also planned. "Mountain Square" at the top the Virgolo will be an open space for everything from open-air markets to concerts. The project is currently displayed in the showroom of department store Bozen Bolzano in the Palais Menz in Bolzano Mustergasse.
It seems that almost every major West Coast city has a public market. Seattle has Pike Place Market (construction is underway on an upcoming expansion now set to open in 2016), San Francisco has the Ferry Building Marketplace, Los Angeles has Grand Central Market, and Vancouver has Granville Island. And San Diego may get a public market in Point Loma this summer. But the city of Portland—the small but mighty West coast food hub chock full of inventive restaurants, abundant farmers’ markets, and food trucks—has gone without a public market since the Portland Public Market closed in 1942. Until now. Portland's new food hall is set to be called the James Beard Public Market after the famous Portland-born chef and writer, whose name is also lent to the eponymous annual awards that are like the AIA awards or Oscars for food. Snøhetta is leading the design and working with SERA Architects, Mayer/Reed, Studio Jeffreys, and Interface Engineering. The conceptual designs publicly released last week depict a pair of two-story market halls totaling 80,000 square feet. The two wings would fill two almost oval-shaped downtown parking lots currently hugging the western end of the Morrison Bridge. Pedestrian safety will be critical at a site that abuts a major Portland artery carrying about 50,000 vehicles a day. “Currently, the Morrison Street Bridge and automobile ramps slice the site into two symmetrical halves, barring pedestrian access from three sides,” said Snøhetta in a statement. "Two broad moves are proposed—realigning the Morrison Bridge ramps and introducing a pedestrian through-road along the western edge of the market in order to increase the overall build able site area, and make the new Market accessible and safe for pedestrians from all four sides.” The designers filled the renderings with lots of natural wood, exposed steel, ample seating, and glazing. There are outdoor and indoor spaces with areas for over 100 market stalls, special events, restaurants, and even a teaching kitchen. There are also plans for a green rooftop terrace overlooking the Willamette River so market visitors can get glimpses of Mount Hood on a clear day. While Portland rarely has to contend with snow, a covered public market will allow venders and other merchants to sell their produce and wares out of the rain year-round. The project is currently in the community outreach phase. Construction is slated to start in the fall of 2016 and the market is expected to open in the spring of 2018. While the local nonprofit organization that will operate the market, the Historic Portland Public Market Foundation, has not yet revealed the cost, the project is expected to draw on a mix of public and private funding.
If constructing a museum were this effortless, there might be one on nearly every street corner. Norway-based firm Snøhetta recently posted a time-lapse video of the ongoing expansion of SF MoMA, compressing a two-year effort into a roughly 7-second breeze-through akin to folding origami: “2 years of construction over in the blink of an eye—time flies when you’re having fun and we can’t wait for Spring 2016!” The caption on the Instagram video reads.
After winning an international competition in 2010, the firm was selected to design a 235,000-square-foot expansion of SF MoMA to accommodate its growing audience, educational programs, and collection. The goal of the new wing is to increase public circulation between the museum and the city through free public galleries at ground level, new entrances for accessibility from different directions, and a central public gathering space. The architects deployed glass throughout the building to foster a welcoming, transparent aesthetic, further opening up the building with the addition of two outdoor terraces and a vertical sculpture garden on the third floor, which offers views of Alexander Calder’s work in an adjacent gallery while overlooking bustling Howard Street. The expansion promises a total of 15,000 square feet of art-filled, free-access public space, including a large, glass-walled gallery at ground level. Though designed to be “forward-looking,” the modern concrete structure respectfully complements the red-brick, Mario Botta-designed main building, which opened in 1995. At its heart is seven levels of flexible, performance-based gallery space for live art programming, and an additional 130,000 square feet of indoor and outdoor gallery space. A versatile, double-height “White Box” space on the fourth floor is equipped with cutting-edge lighting and sound systems for live performances. Meanwhile, a new outdoor terrace on the seventh floor offers dramatic city views, accomplishing SF MoMA’s long-term goal of integrating the urban indoor/outdoor experience.
When the words “Scandinavian Design” come up, most people quickly think about Finland, Sweden, and Denmark. But Norway is no slouch, either. Recently, the nation's designers have been drumming up noise in the worlds of furniture, product design, and architecture. A string of exhibitions, a master plan for New York’s Times Square, and a robust program of roadside pavilions and viewing platforms highlight this Norsk moment. Leading the way are architects Snøhetta, who have been on quite the streak in the last year, most recently gaining commissions to master plan Penn Station and Times Square, just ten blocks from each other in New York. While their Times Square design isn’t the firm's most dramatic work—indeed, it's intended to be a subtle backdrop to the chaotic public space—but it should be a welcome, nuanced addition to the commercial free-for-all that includes Guy’s American Kitchen & Bar. Just a few blocks to the west—towards the Hudson River—the Royal Norwegian Consulate General showed off the country’s design prowess at a recent series of events. At Wanted Design, Calm, Cool and Collected: New Designs from Norway, a booth full of Norsk people and treasures, showcased the subtle use of wood characteristic of Scandinavian design. The up-and-coming studios on display included A-Form, Stokke Austad, Anderssen & Voll, Lars Beller Fjetland, Everything Elevated, Kristine Five Melvær, and Sverre Uhnger. Also sponsored by the Norwegian government was Insidenorway at the International Contemporary Furniture Fair (ICFF), which hosted a group of classic Norwegian brands: Figgjo, Mandal Veveri, Røros Tweed, and VAD. Plates by Figgjo were offered in three styles and featured an elegant flat base and flared edge. Røros Tweed showed off textiles by other famous Norwegians—Anderssen & Voll, Snøhetta, and Bjarne Melgaard. At Collective Design, Oslo- and Tokyo-based Fuglen Gallery showcased an assortment of objects both new and old, alongside work by Norwegian artist Arne Lindaas. The eclectic assortment showed the thematic extension of Norwegian modernism into the 21st century, encompassing much of the iconic work with new, up-and-coming designers. In 2014, Norwegian Icons was curated by Fuglen and Blomqvist at Openhouse Gallery in New York, and showcased the Midcentury design that peaked in Norway around 1950–1970. This exhibition actually continued the tradition of Norway’s promotional shows on the international stage, while also setting up some context for the other shows. It is not just international exhibitions and commissions that have drawn attention to Norway’s strong design culture. The Norwegian Public Roads Administration famously commissions its infrastructure to architects. Across the country, there are points of architectural interest, many of which are located in scenic areas. Most famously, the Trollstigen National Tourist Route has six stunning overlooks. Besides Snøhetta’s iconic designs such as the Oslo Opera House, there are architects like Fantastic Norway and Reiulf Ramstad who are consistently producing top work. At institutions like Fuglen, 0047, and the Oslo School of Architecture & Design, intellectual communities thrive, fostering a strong community of young designers like MMW and Atelier Oslo. The city will get an additional cultural boost during the 2016 Oslo Triennale, curated by New York–based team at After Belonging Agency, a group of five Spanish architects, curators and scholars. Take a look at some of Norway's top new design in the gallery below.
The frustratingly congested, obnoxiously loud, and aggressively dirty area around Penn Station is easily the worst part of Manhattan. It is the reason why tourists qualify their vacation stories about New York with "but I could never live there." Turning the dreadful area around the station (let's leave the hated station out of it for now) into a pleasant place where people want to spend time and not just push and shove their way through is a Herculean task, but one that Snøhetta has agreed to take on. Crain’s reported that Vornado Realty Trust, which owns most of the property around Penn Station, has tapped the high-profile firm to come up with a master plan to spruce up its adjacent buildings and street-level areas. Once that plan is finalized, Vornado may bring in other architecture firms to take on specific projects. But bottom line is that Vornado understands how miserable the area is right now. Mark Ricks, the company's senior vice president of development, called it the "collision of humanity." He gets it. To see how a more pedestrian-friendly transformation would shakeout, Vornado will be turning a one-block stretch of West 33rd Street into a public plaza from mid-July to mid-October. The new space could include tables and chairs, performances, and even yoga classes. StreetsBlog reported that other changes could be coming to 32nd Street as well including a sidewalk extension, planters, and eliminating one lane of traffic. Vornado will pay for all of the improvements, which should make the area a little less terrible and its property a little more marketable.
Snøhetta, the New York and Oslo–based firm named after Norway's highest mountain range, is opening an office in Copenhagen. The new space opens on June 18th at the Danish Architecture Centre with an exhibit called World Architecture Snøhetta that invites Danes to come meet the firm. "The core of the exhibition is a sensory workshop where visitors can touch, smell, see, and hear how the many projects develop from concept to concrete work," Snøhetta said in a statement. "In photos and films, visitors are met by the Snøhettas who guide, involve and explain. As something entirely unique, visitors will have the opportunity to step into a virtual model and experience what architects are capable of without the help of technology—namely seeing the physical space on its own." Snøhetta is of course the Big Firm on Campus in Oslo—what, with its popular Opera House and all. Now, it's stepping directly into Bjarke Ingels Group territory, which itself is well known to use mountainous references in its design. But we're sure the two firms will play nice and, who knows, maybe this will result in some cool collaborations.
In 2010, director Wim Wenders created a 3D video installation at the Venice Architecture Biennale about the Bolex Learning Center in Lausanne, Switzerland, called If These Walls Could Talk. The ability to visually explore the building and simulate being inside the space that the medium affords inspired him to team up with Robert Redford to create a 3D series called Cathedrals of Culture, which will be shown at the IFC Center in New York beginning on May 1. And talk they do. There are six half-hour films, all by different directors, shown in two programs, and five of them are narrated by the buildings themselves. Each is given a voice, which describes the feelings and observations of the structures. So we hear in the first person from the Berlin Philharmonic (Hans Scharoun), the Oslo Opera House (Snohetta), Halden Prison (EMA), The National Library of Russia (Yegor Sokolov), and the Centre Pompidou (Renzo Piano and Richard Rogers). Only the Salk Institute (Louis Kahn) doesn’t employ this technique and is the most successful program. At Salk, it's the perfect melding of brief and building, science and art, the two sparking each other off to make magic. It is now complemented by a like-minded film. Directed by Robert Redford and with stunning cinematography by Ed Lachmann and music by Moby, the film captures the essence of the building and molds the spaces. Kahn’s structure clearly affects the work of the scientists, who speak about "genius loci," the spirit of place. There’s a wonderful image of the staff assembled in a circle and then fanning out across the plaza, like a living organism. We see and hear both Jonas Salk and Louis Kahn, and learn that they raised each other’s game and made a better building; Salk insisted Kahn throw out the first design, and Kahn rebuts that the client isn’t an architect. Then Salk says "eventually Lou Kahn became quite a biologist, and I came to appreciate the importance of aesthetics…to bring out the spirit and soul of man." The campus is filled with light, which hits home when Edward R. Murrow asks Salk who owns the patent for the polio vaccine?: "The people," he replies. "Would you patent the sun?" In the same program is the Centre Pompidou by Karim Ainouz, a Brazilian filmmaker who studied architecture. He spends most of the episode inside the building, maximizing 3D by floating through tunnels, galleries, elevators, back-of-house spaces and the main hall which is treated like an airport arrival and departure lounge. The shot of a window washer gliding up the clear glass-walled escalator holding a sponge in one hand followed by a squeegee in another and letting the upward glide of the moving staircase do the work is pure ballet. The voice of the building is Deyan Sudjic, Director of the Design Museum in London and former editor of Blueprint magazine, who intones "In a digital century, a world of flickering pixels… a machine for culture that I am, which once seemed so violent, so threatening, has the nostalgic charm now of a steam engine." IFC Center. http://www.ifccenter.com Part 1: The Berlin Philharmonic. Director, Wim Wenders The National Library of Russia. Director, Michael Glawogger Halden Prison. Director, Michael Madsen Part 2: The Salk Institute. Director, Robert Redford The Oslo Opera House. Director, Margreth Olin Centre Pompidou. Director, Karim Ainouz
Snøhetta, the Norwegian firm known for big, dramatic buildings around the globe, has completed a more modest project in Gowanus, Brooklyn: the conversion of a warehouse into a studio and gallery space for José Parlá, a Cuban-American artist and painter. The new space is separated into two defined spaces known as the “Arena” and the “Nest.” The “Arena” is where Parlá can showcase his work, like the mural ONE: Union of the Senses, which is now on display in the lobby of One World Trade Center. And as for the “Nest,” Snøhetta describes that as “a cozy mezzanine [that] provides a relaxing space for the artist to take distance from his work, and an elevated location to view his paintings from a new perspective.” Artists, right? Snøhetta's renovation retains much of the building's industrial past, including its ceilings and concrete floors; the building's brick exterior has largely been preserved as well, but now includes rolling doors to accommodate large pieces of art. Inside, walls are painted grey to highlight the artist's work and old skylights have been opened up to increase natural light.