Posts tagged with "SOM":

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SOM to replace Halprin’s only atrium with $60 million amenity plaza

Brookfield Properties and SOM have unveiled new renderings for a forthcoming $60 million renovation of the Lawrence Halprin-designed public plaza and atrium spaces located at the foot of the Wells Fargo Center towers in Downtown Los Angeles. Originally designed as an “urban, indoor Garden of Eden” with developer Robert Maguire and Modernist sculptor Robert Graham, the Halprin-designed atrium space was demolished in late 2017 without announcement and will now give way for a new kind of “amenity-rich” Eden populated by two restaurants, a fitness center, an indoor-outdoor bar, and other small-scale food vendors. Gone are the Robert Graham-, Joan Miro-, and Jean Dubuffet-designed sculptures that once populated the fountain-laden atrium, to be replaced with wrap-around booth seating, a stepped amphitheater, and a bar. Renderings for the new SOM-designed plaza spaces surrounding the ground floor atrium project depict a more open frontage along the site’s Grand Avenue edge, with existing pink granite-clad knee walls to make way for new planted areas and rounded bench seating. The formal atrium structure will also be softened via the introduction of a new open-web metal awning structure along its front. Areas overlooking Hope Street on the opposite side of the complex will also receive upgrades, with renderings depicting shady terrace spaces and new cabana structures wrapping the second story retail spaces above the street. Halprin’s atrium was designed in 1983 as the first component of the Los Angeles Open Space Network, a string of indoor-outdoor plazas, gardens, and parks linking the new Bunker Hill area with the South Park neighborhood to the south. The network was bookended on its northern edge by the atrium and includes the nearby Bunker Hill steps at the foot of the Pei, Cobb, Freed-designed US Bank Tower, the adjacent Maguire Gardens Park, and Grand-Hope Park. The network was not listed as a historic resource either locally or nationally prior to the demolition of the Halprin-designed atrium. Regarding the atrium demolition, Charles Birnbaum, CEO of The Cultural Landscape Foundation said, “It’s remarkable and disturbing that the atrium was demolished with no public notice or input,” adding, “By the way, in 2016 the water channel that runs the length of the Bunker Hill Steps was also fundamentally altered (again with no notice or public input); the rocky features over which water once cascaded (a design element Halprin abstracted from the California wilderness) have been replaced with something benign.  The entire Los Angeles Open Space Network is at the tipping point." SOM originally designed the twin 54- and 45-story story towers on the site in 1981–they were completed in 1983–amid Bunker Hill’s initial transformation from Victorian-era upper class suburb to the purpose-built postmodern business district in existence today. The austere, reflective granite-clad towers present an angular presence on the skyline and are memorialized in Fredric Jameson’s seminal tome Postmodernism, or, The Cultural Logic of Late Capitalism as prime examples of the era’s new “depthless” and “literal” architectural mode. Jameson wrote:
The great free-standing wall of Wells Fargo Court—a surface which seems to be unsupported by any volume, or whose putative volume (rectangular? trapezoidal?) is ocularly quite undecidable. This great sheet of windows, with its gravity-defying two-dimensionality, momentarily transforms the solid ground on which we stand into the contents of a stereopticon, pasteboard shapes profiling themselves here and there around us. The visual effect is the same from all sides: as fateful as the great monolith in Stanley Kubrick’s 2001 which confronts its viewers like an enigmatic destiny, a call to evolutionary mutation. If this new multinational downtown effectively abolished the older ruined city fabric which is violently replaced, cannot something similar be said about the way in which this strange new surface in its own peremptory way renders our older systems of perception of the city somehow archaic and aimless, without offering another in their place?
The changes to the Wells Fargo Center come amid explosive change in the city’s Bunker Hill area, with a massive Gehry Partners-designed $1 billion mixed-use complex, a new Colburn School complex—also by Gehry—and renovations to the Music Center Plaza led by RCH Studios all currently under development. SOM’s renovations are already underway and are expected to be complete by 2019.
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New renderings fly through the future of Manhattan West

Hudson Yards isn’t the only megaproject on Manhattan’s far west side. Developer Brookfield Properties has released a new set of renderings and a fly-through video of what the area will look like once its Manhattan West development is complete. Once complete, the seven-million-square-foot “neighborhood” will link Hudson Yards on the far west side with Penn Station’s renovated Moynihan Train Hall. Hemmed between Ninth and Tenth Avenues and 31st to 33rd Streets, Manhattan West will hold offices, retail, hotels, and residential units, with most of the buildings featuring sleek glass facades. REX’s recent retrofit of 5 Manhattan West; the rising 69 stories of Skidmore, Owings & Merrill’s (SOM) One Manhattan West office tower; SLCE’s recently completed The Eugene, a 62-story residential tower and the tallest of its type in Midtown Manhattan; SOM’s Two Manhattan West, a 59-story office tower which recently filed DOB permits and the 13-story “The Loft” are all on track to finish construction by either 2019 or 2020. Fewer details have been released about the more mysterious Four Manhattan West, which will be a 30-story boutique hotel with condo units. A 60,000-square-foot public plaza designed by James Corner Field Operations and 200,000 square feet of ground floor shops and restaurants will round out the public amenities. Now, Brookfield has released a flythrough of the project, starting at a revitalized Empire Station (the forthcoming rebrand of the new Penn Station complex) with stops along each of the campus’s towers. Watch the video below: Brookfield has also created a VR walkthrough of the entire development, including interior views from each of the office towers, as well as street-level shots. Construction on the $1.6 billion Moynihan Train Hall is ongoing, and it may be a number of years before the area comes into its own. That doesn’t seem to be a hurdle for Amazon (who are already renting space in 5 Manhattan West), and reps from the tech giant will soon visit New York to scout out prospective HQ2 office space on the far west side.
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Revised designs revealed for the modernist plaza at SOM’s 140 Broadway

After hearing—loudly—from critics and community members, the team behind 140 Broadway's plaza revamp has revised its design for the outdoor spaces surrounding the former Marine Midland Building, SOM's landmarked 1968 corporate modernist masterpiece. Landscape architects at New York's NV5, in collaboration with preservation consultants at Higgins Quasebarth & Partners, have submitted a revised design for the modernist plaza at 140 Broadway to the Landmarks Preservation Commission (LPC) for a hearing next week. Most notably, the new design eliminates a 14-foot-wide planter at Broadway and Cedar Street that would have sat kitty-corner from the plaza's signature sculpture, Isamu Noguchi's Red Cube. Aside from the absence of the large corner planter, the plaza design is relatively unchanged from the one revealed in January. Like the previous scheme, the new plans call for six, 14-foot-wide circular planters that double as benches along Cedar Street. Meanwhile, the Helmsley Memorial, a blocky black-granite tribute to the late owner, will be re-dedicated as a marker flush with the pavement, and the design team will add metal bollards along Cedar. To further harmonize the space, the design team is replacing pinkish granite pavers installed in 1999 with a light golden-hued granite that resembles the original travertine plaza. When the plaza plans were revealed in January, critics panned the design, saying it would distract from the Noguchi sculpture, which was installed to complement the plaza and its 57-story tower. Originally, the LPC was scheduled to hear the plaza plans in early February, but public debate over the appropriateness of the renovation prompted the designers and owner to withdraw the item from the LPC's calendar. The Architect's Newspaper (AN) obtained an advance copy of the plans that were submitted to the LPC. All the renderings and drawings pictured here are from that document. Jackson Wandres, director of landscape architecture at NV5, and Erin Rulli, partner at Higgins Quasebarth, said that their overall goal is to add more seating and re-establish the east-west viewshed that extends from Zuccotti Park across the 140 Broadway plaza and over to SOM's 28 Liberty (formerly One Chase Manhattan Plaza), a modernist skyscraper of the same vintage. The 140 Broadway plaza "is the knuckle in a series of open spaces," Wandres said. "It makes the space feel much larger." A web of fine-toothed zoning designations divides these three seemingly unified areas and complicates the design intervention, however. The park and the two office tower plazas are POPS, spaces that are privately owned and maintained but free for the public to use. At 140 Broadway, the plaza continues out from the building to the edge of the roadway uninterrupted, even though the property line actually ends about 20 feet before the street; the food carts with LED marquees that sling chicken-over-rice and green juice to hungry passerbys sit on the public right-of-way. By obstructing the historical plaza-to-plaza vista, "the carts have caused a dramatic shift in how you experience the space," Rulli said. "It's not the intention to deprive anyone of their livelihoods, but rather, it's a design move for the benefit of the plaza," Wandres added. The pair clarified that any changes to the public area is under the Department of Transportation's (DOT) jurisdiction, not owner Union Investment's. Consequently, the proposed food cart–replacing benches and planters in the right-of-way are being reviewed by the DOT, not the LPC.
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Secret cities of the Manhattan Project to go on view at the Building Museum

In the midst of World War II, three new cities sprung up across the United States, built from scratch by the U.S. Army Corps of Engineers. Between 1942 and 1945, Oak Ridge, Tennessee; Los Alamos, New Mexico; and Hanford, Washington would become home to more than 125,000 people, but, officially, none of these places even existed. In fact, everything that happened inside the three "secret cities" was strictly confidential—even their locations, which were completely off the map. Now, some 75 years later, the National Building Museum is digging through the archives to present a declassified picture of the three cities at the core of the Manhattan Project, the research and development mission behind the first atomic bomb, with the exhibition "Secret Cities: The Architecture and Planning of the Manhattan Project," which opens from May 3. The show examines the exceptional design thinking required to build three clandestine cities at the height of the war, but these were not simple military encampments. Coinciding with the early moments of modernism, the hidden cities were a laboratory for the most cutting-edge explorations of town planning, engineering, and efficiency of mass and scale. To realize their vision, the Army Corps turned to architects like those at Skidmore, Owings & Merrill, who provided the master plan for the community at Oak Ridge, which would grow to encompass 10 schools, a hospital, 17 restaurants, and 300 miles of road. To make it all possible, a team from SOM, led by led by John Ogden Merrill himself, set up shop in the town. The Tennessee office would grow to include some 300 architects, making it among the largest firms in the country at the time. Not only would the town prove a testing ground in which Bauhaus and other early modernist principles were utilized to create the type of planned suburb development that would dominate the following decades, it was also an opportunity for SOM's designers and engineers to experiment with new techniques and technologies, using prefab and modular construction methods combined with cemesto panels (names for their a mix of concrete and asbestos). At the time, the work was strictly confidential—not even the residents of the secret cities knew what they were working on. Only now, with the distance of time, is it possible to examine the legacy of these instant cities that sprung from the atomic race.
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The Union Carbide building should be torn down

When news broke last week about JP Morgan Chase’s plans to tear down 270 Park Avenue, otherwise known as the Union Carbide Building, by Skidmore Owings & Merrill (SOM), the New York architecture community predictably went up in arms. Critics like New York Magazine’s Justin Davidson lambasted the plans as “obscene,” while Curbed’s Alexandra Lange called the plan “shortsighted.” But after the initial shock at such a huge building being torn down has faded—it would be the tallest building to be voluntarily demolished—there has still been little to no convincing argument offered for JP Morgan Chase to save the building. The Union Carbide building should be torn down. In fact, we should cheer as it falls because it represents the worst of midcentury American corporate architecture, something that at the time was totalizing, banal, repetitive, and dogmatic—when everything began to look similar. The Union Carbide building is derivative of the Seagram Building just down the street, an exemplar of a time when copying Mies had gotten completely out of control. In fact, Stanley Tigerman’s “The Titanic” addressed exactly this phenomenon: Mies was great, but his copiers were not. Buildings like Union Carbide are what inspired Tigerman and his peers to develop architectural postmodernism. By defending this building, critics are creating an echo chamber reinforcing bad corporate architecture that offers very little to architectural culture. By 1961, almost 70 years of seminal modernism had completely altered the way we build and the way we see our cities. Just in the United States alone, there are many important projects of the movement, including Mies’ Farnsworth House (1951), Frank Lloyd Wright’s Johnson Wax Building (1939), and a number of projects in California by Rudolph Schindler and Richard Neutra that stand as important works that need to be saved to preserve this history. A nondescript corporate box from 1957 that isn’t even one of the most important buildings on its own block—the Seagram Building, the MetLife Building, the Lever House, and the PepsiCo Building are all better—shouldn’t be cried over. The Union Carbide Building is an offender of the high modernist co-optation of the guiding principles of Modernism—a movement originally fueled by a socially progressive agenda (better, cleaner, more egalitarian cities) and made possible by radical innovations in building technology, most notably machine precision and mass production. Davidson rightly notes that “before the 1950s, builders could hide approximations and errors with ornament or tolerant stone.” However, this disregards that fact that buildings like 270 Park paved the way for the co-optation of the original machine aesthetic of mass production in modernism. What started as something beautiful and new became something developers used to cut costs. The result is today's banal stream of terrible, stripped-down glass boxes that litter our skyline today: the late capitalist use of the modernist aesthetic and efficient production process to justify cheaper and cheaper buildings. Davidson claims, "To demolish one of the peaks of modernist architecture in the name of modernity is obscene, a sign that you consider your city disposable.” Unfortunately, this is an odd conflation of the idea of modernity and the contemporary. In architectural terms, modernity and modernism are historical periods, linked by the advent of the industrial revolution and the refinement of the machine aesthetic alongside it. However, Davidson’s linguistic trick falters when we realize that tearing down 270 Park would not be a quest for modernity, as we are now postmodern or something even further removed from modernity. Once we can move beyond an ideological idea that modernism is still important to the contemporary, we can treat it fairly as what it is: a historical style. Furthermore, 270 Park and many other midcentury buildings were built by the most ruthless cabal of capitalists the world has ever seen. They did it with style, but let’s not forget that the Madmen of this era reinforced a power structure that we are still struggling to shake off today. Theirs was a world fueled by misogyny, exploitation, white supremacy, and capitalist imperialism. Union Carbide is or should be notorious as the perpetrator of the worst industrial disaster in the history of the world, the Bhopal disaster, in which almost 4,000 workers and at least 15,000 people total were killed by a toxic gas leak at the Union Carbide India Limited (UCIL) pesticide plant in Bhopal, Madhya Pradesh, India. Midcentury clients were sometimes bad people with good taste. We shouldn’t tear the building down because of Union Carbide’s transgressions, but we should not assume that JP Morgan is a new evil desecrating some holy landmark. In fact, demolition is the only logical conclusion for a building like Union Carbide. It is a structure built precisely for the logic of the market to consume it: Capital exploits and extracts maximum value from whatever it uses and leaves behind a smoldering husk once it has been deemed worthless. Why not just let 270 Park die a natural death at the hands of the 21st century equivalent of Union Carbide: a multi-national bank? It’s really a beautiful story if you think about it correctly.   It is true that this is a wildly wasteful proposal. But this building can be torn down as an exercise in tearing down such tall structures. The demolition could offer a useful case study to learn from. As skyscrapers age, this will become an important preservation issue. How will we deal with tall buildings in urban settings that can’t be imploded? What are the techniques for taking away glass at 40 stories? How does a curtain wall removal differ from a typical window assembly? This is not always a question of waste, either. How do we take down tall buildings that are severely damaged by fires, earthquakes, or other disasters? If the demolition is done correctly, companies like Rotor Deconstruction could also salvage much of the architectural heritage by saving a good amount of the building material, which could find new life in newer buildings. A strong proof-of-concept would help the entire profession.  The Union Carbide building is the type of building that really isn’t that important, but has somehow become more revered because it is located in New York. However, this building is not any more remarkable than many like it all over the world. This myopic obsession with New York's past holds it back. Even Ada Louise Huxtable—who Lange quotes in her attempt to rationalize saving Union Carbide—once said in 1957, the year 270 Park was completed, “Today the old Park Avenue is being buried with remarkable and ruthless efficiency...For we must no longer just bury the past, we destroy it to make room for the future.” We have to wonder what she would think of the predicament today. However, just because 270 Park is not worth saving does not mean that what replaces it couldn’t be worse. The big question now is: What’s next? Architect Andrew Zago likes to say, “It’s ok to tear anything down, as long as you replace it with something better.” This is likely not JP Morgan Chase’s mantra, but the banking giant certainly has the resources to choose any architect it wants. How do we persuade Chase to hire an architect who will guarantee design excellence? One way is if the Department of City Planning were to hold the firm's feet to the fire. On such a high-profile project at the beginning of a neighborhood-scale transformation that the de Blasio administration seems invested in, DCP should have a say in what goes up. And they should care about design excellence. Let’s redefine what it means to be contemporary, not dwell on what it means to be “modern.”
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Preservation groups protest Union Carbide demolition and appeal for its landmarking

Shortly after JPMorgan Chase announced that they would be demolishing their Midtown Manhattan headquarters at 270 Park Avenue, preservationists, architects and critics railed against the move on social media and through letters to the city. Now, the U.S. and New York/Tri-State chapters of non-profit preservation group Docomomo have teamed up for a joint effort to persuade New York City’s Landmarks Preservation Commission (LPC) to consider protecting the building. In a letter sent to LPC Chair Meenakshi Srinivasan, both groups stressed the importance of the SOM-designed Union Carbide building in the canon of corporate architecture, and the role Natalie de Blois played in its design. Seeking to get ahead of the demolition, the letter states,
“As the agency charged with implementing the Landmarks law, we urge you--as the Chair of the Landmarks Preservation Commission--to immediately calendar 270 Park Avenue for local designation. We appreciate the need to partner and work with other city agencies to advance the goals of the City on behalf of its citizens. However, the goals of one large corporation should not nullify or ignore the public interest, the law or the authority of one agency over another.”
Now that the tower is on the chopping block, calls for the building’s calendaring have intensified, as the New York-based Historic Districts Council has also advocated for the landmarking. It’s important to note that 270 Park Ave. had been identified as a potential landmark by the city once before, in 2013 ahead of the rezoning, and that 12 surrounding buildings were given protection. The city had also seemed on board at the time, saying in the Greater East Midtown Rezoning Final Environmental Impact Statement that, “One of the City’s greatest modern buildings, this 53-story [skyscraper] exudes strength and elegance in its protruding stainless steel mullions and simple but bold façade patterning created by the black matte metal spandrels...The ultimate pin-stripe building.” It remains to be seen whether these letters and lobbying will fall on deaf ears, as Chase is on track to raze the tower early next year, giving it the dubious distinction of being the largest voluntarily demolished building in history.
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Natalie Griffin de Blois’s Union Carbide tower is slated for demolition by Chase

Skidmore, Owings & Merrill’s (SOM) 270 Park Avenue, an international-styled glass-and-steel tower in Midtown Manhattan that Ada Louis Huxtable once described as one of the “sleek and shiny temples” to business, is now scheduled for demolition. As first reported by the New York Times, the building’s current owner, JPMorgan Chase, will be tearing down the 52-story tower for a taller replacement. Completed in 1961, 270 Park Avenue, originally the headquarters for Union Carbide, was designed by SOM partner Natalie Griffin de Blois, one of the few women working in midcentury corporate architecture at the time. The 707-foot-tall, slab-shaped tower holds about 1.5 million usable square feet. Chase has called the tower its headquarters since 1996, but have claimed that with 6,000 employees in a building meant for 3,500, the location is now too small. To that end, the company will be tearing down the Union Carbide Building and replacing it with a new 70-story headquarters that could be up to 500 feet taller than the midcentury icon it would be replacing. The financial giant expects that the new tower will be about 1 million square feet larger than its predecessor, and will eventually house 15,000 employees. The expansion plan is only possible under the recently passed rezoning of Midtown East, which allows developers to build taller and denser in exchange for transportation improvements and buying the air rights of historic buildings (with proceeds going towards a public fund). The New York Times reports that Chase will be buying $40 million of air rights, with the money going towards improving Midtown East’s sidewalks, pedestrian plazas and streets. 270 Park Avenue doesn’t seem long for this world, as Chase wants to begin demolition early next year and have its replacement tower finished by 2024. Employees who currently work in the building will be relocated in the neighboring 390 Madison Avenue, as well as 237, 245 and 277 Park Avenue. The public reaction to the announcement has been pointedly critical, especially as Mayor de Blasio has expressed his satisfaction with the deal. Preservationists took to Twitter to bash Chase for tearing down an original tower in Park Avenue’s valley of international offices, and expressed hope that the building could get in front of the Landmarks Preservation Committee before its demolition. No architect for the replacement tower has been announced yet. AN will provide an update when we have more information on the project.
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Chicago’s Tribune Tower is gutted for condos as a supertall is proposed next door

While Chicago’s iconic Tribune Towers is undergoing a conversion from office building to condo tower, a 1,388-foot-tall steel and glass tower could sprout up next door. Tribune Tower’s owners, the Los Angeles-based CIM Group and Chicago-based Golub & Co, have revealed plans to build what could be Chicago’s second tallest skyscraper. After being sold in 2016 for $240 million to private developers, the top floors of the 36-story, Gothic Revival-styled Tribune Tower have been undergoing demolition since last October. While the building’s facade and main lobby were landmarked in 1989, no such protections exist for the interiors, and Solomon Cordwell Buenz (SCB) is overseeing the conversion of what was once offices for Tribune Media into 165 condo units. According to the Chicago Tribune, CIM Group and Golub have proposed developing a narrow surface parking lot to the northeast of Tribune Tower into a mixed-use skyscraper designed by Chicago-based Adrian Smith + Gordon Gill Architecture. As the Chicago Tribune notes, Adrian Smith is no stranger to building tall, having led the design team for the Burj Khalifa in Dubai and Trump Tower Chicago when he was with SOM. The new tower would eclipse Trump Tower Chicago as the second tallest in Chicago, as Trump Tower only tops out at 1,171 feet tall, and uses a spire to reach 1,388 feet. The current proposal would see the creation of 220 hotel rooms and 158 condo units, as well as 500 parking spaces spread across floors two through eight of the new tower. Alderman Brendan Reilly described the design as “thin and soaring” based on renderings he had seen. This thinness is likely a response to the protected Ogden Slip view corridor, which means that Tribune Tower must remain visible from Lake Shore Drive as part of its landmarked status. While preservationists have been questioning whether this new development, which would dwarf the 462-foot-tall Tribune Tower, is inappropriate for the site, the conversion of Tribune Tower itself has also drawn their ire. The building’s limestone base contains embedded chunks of famous buildings from around the world, and Alderman Reilly has stated that these panels will be relocated to different areas of the tower. Tribune Tower was built in 1925 following a widely-publicized design contest that awarded the $50,000 prize to New York-based Howells & Hood. The tower’s Indiana limestone façade, gothic details, and crown composed of flying buttresses has made it an integral part of the Chicago skyline in the century since its opening. The conversion to residential space and the opening of ground floor retail is expected to finish in 2020; any construction on the adjacent lot is on hold until the Tribune Tower project is complete. The plans presented above are still subject to change, as the developers still need to procure funding and a rezoning of the lot before they can proceed.
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Florida’s Brightline makes private, high-speed transit a reality

The United States, let alone Florida, is not known for its widely accessible and comprehensive regional mass transit networks. Bucking this trend, on January 15, the state inaugurated Brightline, a private passenger rail between the cities of West Palm Beach and Fort Lauderdale that shaves 30 minutes off the time required by car. While the distance between the two cities is not great, with the train journey taking just 40 minutes, the Brightline has reintroduced private commuter rail to the United States for the first time in decades. Although Brightline currently only operates between West Palm Beach and Fort Lauderdale, it is slated to expand to Miami and Orlando by 2020, utilizing 240 miles of track carving through densely populated Southeastern Florida. While not part of the current proposal, All Aboard Florida has suggested that Tampa and Jacksonville could be linked to the Brightline network. Skidmore, Owings & Merrill and Zyscovich Architects are designing the stations located in Miami, Fort Lauderdale, and West Palm Beach. All of the stations share a material palette and design aesthetic, while conforming to their individual environments. At the cost of $3.1 billion, Brightline promises to transform commuting between Miami and Orlando to a relatively minimal 3 hours, taking an hour off the drive time. According to Next City, the new rail service could take upwards of 3 million cars off of South Florida roads, with the potential to capture up to 20 percent of travel between the two cities, two of the most visited cities in the United States. The introductory fare between West Palm and Fort Lauderdale is $10, a bargain considering the amenities aboard the train, which include leather seats, free WiFi, power outlets and bike racks. As reported by USA Today, the Brightline will prove operationally profitable if it captures just 2 percent of the 100 million annual trips between Miami and Orlando. Fortress Investment Group, the parent company of the Brightline, is hedging that its investment in new transit hubs will increase property values surrounding stations as well as revenue generated by real estate development. Forrest Investment Group is already building more than 800 high-priced rentals at its Miami station and close to 300 in West Palm, in tandem with new skyscrapers dedicated to commercial and retail functions. While Brightline is based in Florida, its model of privately-funded and operated high-speed rail is replicable across the country. According to Modern Cities, Brightline is considering implementing its concept in similar urban corridors to those in Southeastern Florida, with the possibility of new links between Atlanta and Charlotte or Houston and Dallas. With the Trump administration’s recently leaked draft infrastructure plan emphasizing financially independent public transport systems, Brightline could prove to be a successful model for expanding rail service to millions of Americans while spurring high-density development in sprawl-ridden metropolitan areas.
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Ai Weiwei, Hiroshi Sugimoto shortlisted for Treasure Island public art installations

San Francisco’s $50 million, arts and culture-focused redevelopment of the Treasure Island neighborhood, a manmade island in San Francisco Bay, is moving along with the announcement of a star-studded shortlist of artists for its massive sculpture displays. Ai Weiwei, Hiroshi Sugimoto, New Jersey-based sculptor Chakaia Booker and five other artists have been invited to submit designs for three public sites across the development, from an initial pool of 495 entrants. The plan to expand the Treasure Island district will include the neighboring Yerba Buena Island, and add up to 8,500 new residences and 550,000 square feet of retail across both islands. The $50 million art budget, to be spent in the coming decades, will be generated through the 1% for Art in Private Development fund, which would levy a 1% “art tax” on new construction projects on the island. The three sites will include the Building 1 Plaza in front of the ferry landing, with a budget of $1 million, Waterfront Plaza, with a $2 million budget, and the Yerba Buena Hilltop Park, with a $2 million budget. Of the eight artists, only Weiwei and Booker have been invited to submit proposals for more than one site. Weiwei, Booker and Los Angeles-based Pae White, with Ned Kahn as a standby option, will submit for the Building 1 Plaza. Weiwei, British sculptor Antony Gormley, and Cuban artist Jorge Pardo will also propose pieces for the Waterfront Plaza, a likely future ferry terminal location. At the Yerba Buena Hilltop Park, which will offer sweeping views of Treasure Island once the development is complete, Booker, British sculptor and photography Andy Goldsworthy, and Sugimoto have been shortlisted. Once complete, the Treasure Island redevelopment, which will be jointly masterplanned by SOM and Perkins + Will, will only build on approximately 25 percent of the available land. By clustering new buildings along Treasure Island’s southern and western shores and building for density, the master plan not only reduces the island’s dependence on cars but will also provide plenty of space for the “art park” concept to unfold. CMG Landscape Architecture has been tapped to design the 300 acres of rolling parks across both islands. “It is anticipated that proposals will be submitted in the spring and will be placed on public view on Treasure Island as well as elsewhere in the city for comment and feedback before being voted upon by the Treasure Island Development Authority,” according to the San Francisco Arts Commission. Neither Weiwei nor Sugimoto are strangers to large-scale art installations, or integrating art with the built environment. Most recently, Weiwei's Good Fences Make Good Neighbors touched down in public areas throughout New York City, while Sugimoto was tapped to redesign the Hirshhorn Museum's lobby. The entire Treasure Island master plan can be read here.
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Here are the winners of the AIA Honor Awards 2018 in interior architecture

[Editor’s Note: This the second in a three-part series documenting the winners of the AIA 2018 Honor Awards, which are broken down into three categories: architecture, interior architecture, and urban design. This list covers the interior architecture awards, but additional segments spotlight winners in architecture and urban design.] The American Institute of Architects announced its 2018 recipients of the Institute Honor Awards January 12. The 17 winners were pulled from approximately 500 submissions from across the globe and five interior architecture projects took home the prize. The designs range from a high-end New York loft to a middle school in Missouri, with unique approaches to lighting, spatial volume, and material palette. The five-person jury that selected this year’s AIA Interior Architecture Honor Award winners included:
  • Brian Caldwell, THINKTANK Design Group;
  • Joshua Aidlin, Aidlin Darling Design;
  • Kiyomi Kurooka, DWL Architects + Planners Inc.;
  • John Paquin, Statesville;
  • William T. Ruhl, RUHL WALKER Architects.
Chicago Public Library, Chinatown Branch Skidmore, Owings & Merrill Chicago From the jury: “The conscious approach for the building’s ideals for interior decisions are evident in the artistic expression of the history of the cultural identity of the community." Photographer's Loft Desai Chia Architecture New York City From the jury: "This is exquisitely detailed and crafted so much so that it appears one would be living in artwork." Reeds Spring Middle School Dake Wells Architecture Reeds Spring, Missouri From the jury: "Such a clear concept organized the program around elements found in the Ozark landscape led to beautiful execution. Buried in a hill, yet bursting full of daylight is praiseworthy.” Sound Transit University of Washington Station LMN Architects Seattle From the jury: "An aesthetically inspiring jewel that doubles as fantastic public art." Square, Inc. Headquarters Bohlin Cywinski Jackson San Francisco From the jury: "The company’s ethos is reflected in every detail of their software and hardware products, with a crisp, minimalist design that is both intuitive and elegant."
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Here are the winners of the 2018 AIA Honor Awards in architecture

This is the first article in a three part series documenting the 2018 AIA Institute Honor Awards. This lists the winners of the architecture category, while additional segments contain the winners in the interior architecture and regional & urban design categories. The American Institute of Architects (AIA) has announced the 2018 winners of the AIA Institute Honor Awards. The list contains projects from all around the world, and of varying programs and uses, and honors firms both large and small. From a girls’ school in Afghanistan to a municipal salt shed, this year’s widely diverse group of winning projects will be recognized at the AIA Conference on Architecture 2018 in New York City, in late June. This year's eight member jury panel included:
  • Lee Becker, FAIA (Chair), Hartman-Cox Architects
  • Anne Marie Decker, FAIA, Duvall Decker Architects
  • Susan Johnson, AIA, Strata; Anna Jones, Assoc. AIA, MOD Design
  • Caitlin Kessler, AIAS Student Representative, University of Arizona
  • Merilee Meacock, AIA, KSS Architects
  • Robert Miller, FAIA, Bohlin Cywinski Jackson
  • Sharon Prince, Grace Farms Foundation
  • Rob Rogers, FAIA, Rogers Partners.
  Project: Audain Art Museum Architect: Patkau Architects Inc. Location: Whistler, British Columbia, Canada From the AIA Jury: A beautiful, dynamic project that literally wraps users around nature, blurring the boundaries between man-made and natural. It creates a cultural magnet to help educate not only art, but eco-friendly design. The elegant structure hovers over a floodplain topography in an area that receives a large amount of snowfall, battling the elements through an architectural form that embraces the setting. Opportunity for people to live with art. The typology of the building is a stepping stone for Canada, a new icon, and a monument for British Columbia. It has helped elevate all of us. Project: The Broad Architect: Diller Scofidio + Renfro, Associate Firm: Gensler Location: Los Angeles From the AIA Jury: Simultaneously sedate and spectacular. It fits the context of the visually exuberant arts buildings in this neighborhood. More than holding its own as a figure, it also engages and takes the user in. The dark body-like, shapely vault is a beautiful counterpoint to the bright, thick, patterned light veil. The design intention is clear and carried through at every scale. The types of space created are unusual but engaging and composed. Project: Chicago Riverwalk Architect: Ross Barney Architects and Sasaki Associates Location: Chicago From the AIA Jury: A gift to city, it embraces Chicago's layered, diverse history by providing a range of amenities that provide forward looking opportunities. Transforms the once neglected downtown riverfront into a vast public space. Design that touches everyone. Subtle moments of education and insight into the ecology of the river, educating visitors and residents. It is the reinvention of urban life that brings attention back to the waterfront. Project: Gohar Khatoon Girls' School Architect: Robert Hull, FAIA, and the University of Washington, Department of Architecture Location: Mazar-i-Sharif, Afghanistan From the AIA Jury: A beautiful and restrained aesthetic with limited means. Architecture is a modern take on Afghan history and masonry construction. This elevates respect for women and girls overall when state resources are used to this extent and design, adding an intent to create an urban oasis and promote community engagement. This space and the process communicates a new era for girls and women very powerfully. It is remarkably resourceful by integrating natural sustainability measures while operating within a weak infrastructure in the country. Project: Manhattan Districts 1/2/5 & Spring Street Salt Shed Architect: Dattner Architects in association with WXY architecture + urban design Location: New York City From the AIA Jury: The Salt storage building took what is usually an industrial construction built as economically as possible into urban art. It raises the bar significantly for civic infrastructure. Unapologetic platonic shape with beautiful skin with commitment to civic expression, environmental responsibility, and sensitivity to the urban context design solution that successfully integrates critical services into the neighborhood. The pursuit of a visual oxymoron to sanitation, and investment therein, is laudable and uplifting to an entire neighborhood and heavily used city corridor. Highly innovative. Project: Mercer Island Fire Station 92 Architect: Miller Hull Partnership Location: Mercer Island, Washington From the AIA Jury: Operations drives design and the execution is flawless. A necessary renovation turned modern reinterpretation of a traditional civic building into a simple box with layers of transparency that visually and physically connect the functions to the street. Great balance of functionality and warmth of materials make this a beautiful facility. Balanced work and relaxation are desired combo for firefighting facilities and certainly that balance is achieved here. As a public project, it is clearly a labor of love. Super judicious use of materials; great scale, sense of public awareness. Best of all this honors the incredibly hard working firefighters deserving of such a light space. Project: New United States Courthouse Architect: Skidmore, Owings & Merrill LLP Location: Los Angeles From the AIA Jury: The design's fascination with natural light and white spaces is nicely contrasted by the golden wood interior figures and floors. The building's form is a representation of site and topography, functionality, environmental performance, civic presence, and public spaces. Traditional materials and architectural elements enliven its civic presence, while modern elements introduced through the glass assembly façade create an iconic image for a 21st Century courthouse building while also providing positive environmental performance. This powerful composition and the generosity of its public spaces gives the project a clear civic presence, separating it from its commercial neighbors. Project: Vol Walker Hall & the Steven L. Anderson Design Center Architect: Marlon Blackwell Architects Location: Fayetteville, Arkansas From the AIA Jury: A complimentary and progressive pairing of modern and traditional forms. Consistent orchestration of natural light and a sparse but powerful use of red to make landmark moments in the building is invigorating. Sets the opportunity for an interesting contrast between the old and new wings. The expanded facility unites all three departments – architecture, landscape architecture, and interior design – under one roof for the first time, reinforcing the School’s identity and creating a cross-disciplinary, collaborative learning environment. The overall design is a didactic model, establishing a tangible discourse between the past and present while providing state-of-the-art-facilities for 21st century architectural and design education. Every space seems equally well resolved, simple, elegant Project: Washington Fruit & Produce Company Headquarters Architect: Graham Baba Architects Location: Yakima, Washington From the AIA Jury: This sits on the landscape beautifully and creates space for meaningful community. The oasis among the warehouses is functional, sustainable, spatial and formal. The design idea is integral and cohesive. An idea with depth. Occupied spaces are oriented towards the heart of the place - the courtyard, avoiding views towards the surrounding freeway and industrial warehouses; earth berms surrounding the building focalize views out to the landscape and blurring the boundary of architecture and site. The owners’ commitment to creating a respite from the industrial environment for their employees led to an exploration of curating views and outdoor spaces. The result is a workspace that encourages quiet contemplation, community and productivity.