It’s no secret that Houston is going through a growth spurt. The city currently has four central business districts that, if separated, would each be among the country’s top 15 employment centers. In the next 30 years, 3.5 million people are projected to move to the 8-county region, with two million of those concentrated in Harris County. In a recent presentation to the Livable Houston Initiative, Kimley-Horn Associates engineer Sam Lott characterized the increased traffic that this population growth will entail as an impending crisis. “Our crisis is that we cannot build enough capacity,” said Lott. “TxDot is reaching the limit of what they can do. They’re now at a point where it’s going to be a challenge to maintain the capacity we’ve got. More traffic will move to city streets and the congestion on the freeways…is going to last all day long. The light rail and bus system, as important as it is and as we need to build it, is not in itself going to be able to provide the necessary capacity.” Lott put forth a three-fold solution to this congestion forecast. 1) Establish protected right of ways to increase the capacity of the freight rail system. 2) Create a regional commuter rail system as an alternative to the freeways with stops every five to 10 miles. 3) Build a grade-separated transit circulator system to work in concert with the light rail and regional commuter rail. Lott posited that a grade-separated circulator that connected the city’s four employment centers would be a boon for Houston. “I believe we would have the economic equivalent of Manhattan if this system were built,” he said.
Posts tagged with "Texas":
Austin’s Circuit of the Americas gets an iconic observation tower using 350 tons of steel.The Circuit of the Americas (COTA) in Austin, Texas, will host the United States Grand Prix from 2012 to 2021. While German Formula 1 specialist Hermann Tilke designed the racecourse and technical facilities, COTA’s owners hired local firm Miró Rivera Architects to turn out a main grandstand and amenities for the 9,000 fans expected to attend the races. In addition to imbuing the project with a variety of programmatic functions that go beyond racing, Miró Rivera created a sleek observation tower that gives spectators unrestricted views across the racetrack’s twisting expanse. “Our idea for the tower was to be able to go way up and see the track from one focal point in a structure that was an iconographic symbol for the track,” said Miguel Rivera, founder and principal of the architecture firm. “Our inspiration came from Formula 1 cars, where speed and efficiency are so important.” Just like the track’s feature attractions, the tower’s design didn’t feature any excesses. Structural engineers at Walter P Moore helped ensure every piece of steel did some kind of work so the tower was as efficient as possible. Working with the architects’ 2D drawings, the structural engineering team developed a three dimensional tower with all the requisite details for construction—right down to bolts and welding points—in Tekla Structures. “Everything that goes into fabrication is digitally defined in this program,” said Mark Waggoner, principal with Walter P Moore. “Generally, in our business, we deliver paper drawings for the steel fabricator to interpret and build, but we were able to bypass this step and print shop drawings directly from our model.” To increase efficacy, the engineers wrote some of their own connections for programming interfaces with steel fabricator Patriot Erectors. Waggoner also located the joints, especially for the veil, (the tubular red feature, inspired by the tracers of a car’s tail lights in the dark) in Tekla. To reduce the cost of bending each 8-inch steel tube to the architect’s initial drawings, the program helped break large radii into segmented, straight lines to achieve time and cost savings. To facilitate shipment to the COTA track, the 20- by 20- by 250-foot structure was broken into four pieces that could be stitched back together on site. Patriot Erectors welded 10- by 10- by 30-foot sections in their Dripping Springs, Texas-facility that were assembled on three different casting beds and craned into position. Reflecting on the 11-month digital design/build schedule, Waggoner said the process for the COTA Observation Tower was somewhat unconventional. “People generally like to have paper drawings for these types of projects,” he explained. “But at the end of the day, the general contractor felt this process saved us about three months of time.”
Roads of Arabia: Archaeology and History of the Kingdom of Saudi Arabia The Museum of Fine Arts Houston 5601 Main Street Houston, Texas December 19 through March 9, 2014 The Museum of Fine Arts Houston (MFAH) is hosting an eye-opening exhibition this winter that will uncover the rich history of the ancient trade routes of the Arabian Peninsula. Organized by the Smithsonian’s Arthur M. Sackler Gallery in Washington, D.C., in association with the Saudi Commission for Tourism and Antiquities (SCTA), Roads of Arabia will feature objects recently excavated from more than 10 archaeological sites, and give insight into the culture and economy of this ancient civilization. Recently discovered objects along the trade routes include alabaster bowls and fragile glassware as well as heavy gold earrings and monumental statues. All of the artifacts are testament to the lively exchange between Arabs and their neighbors, including the Egyptians, Syrians, Babylonians, and Greco-Romans.
Form/Unformed: Design from 1960 to the Present The Dallas Museum of Art 1717 North Harwood Street Dallas, TX Extended through December 2014 The Dallas Museum of Art is celebrating the work of prolific designers and architects from the 1960s to the present with its first comprehensive design exhibition. Some of the featured designers include Robert Venturi, Frank Gehry, Aldo Rossi, Zaha Hadid, and Donald Judd. Drawn entirely from the Museum’s own collection, the exhibition reveals the evolution of forms and ideologies that have shaped international design over the last half century. “Several of the works on view are recent acquisitions that reflect the continuing expansion of the Museum’s decorative arts and design program to include historic American and European work, as well as contemporary objects of international significance,” said Bonnie Pitman, The Eugene McDermott Director of the Dallas Museum of Art. From modern jewelry like The Golden Fleece, to iconic furniture, the exhibition spotlights the extraordinary work of some of the best designers of our time.
According to a very confidential source, engineers currently working on the Waller Creek tunnel believe that Austin sits on top of some of the most optimal conditions for tunneling in the entire U.S. These number-crunching problem solvers claimed that a subway tunnel beneath the Texas State Capital’s downtown would cost 1/10th of the amount it would in most places in the country. However, the brainiacs also said that there are those in high places who do not want that knowledge spread around (read TxDOT) because the construction of more freeways is making certain people a great deal of money.
Yesterday, Houston voters killed a $200 million ballot initiative to renovate the unused Astrodome. Fifty-three percent opposed the measure and 47 percent supported it. The plan would have turned the stadium—the first domed and air-conditioned professional stadium—into a multi-use event and convention space. Houston's professional sports teams now play in Reliant Stadium next door and Minute Made Park in downtown Houston. Without funding for renovation, the dome appears destined for demolition. Tomorrow, AN will release the results of the "Re-imagine the Astrodome" competition, which includes both pragmatic and visionary ideas for re-using the Space Age structure. To celebrate, join us for coffee and refreshments at the Texas Society of Architects in the Grand Lobby of Fort Worth Convention Center from 10:00-11:00 a.m. We'll also be launching the inaugural issue of the Southwest edition. Stop by meet AN's new Southwest Aaron Seward.
Austin, Texas–based architects Dan Cheetham and Michelle Tarsney have given a new face to some of the city's underutilized spaces: alleyways. Their one-of-a-kind community art installation, 20ft WIDE, seeks to resolve conflict between architecture, art, and humanism in order to create places of lasting value. The once forgotten alley between Ninth and Tenth streets, which connects Congress Avenue and Brazos Street in Downtown Austin, has been transformed into a collaborative space to bring attention to public urban places and foster discussion about the new possibilities for their uses The name 20ft WIDE stems from Austin’s original 1839 master plan, which called for each of the city’s alley to measure, well, 20 feet wide. Austin’s structure consists of many open spaces and side streets that are not being used solely because they go unnoticed by nearby wanderers. Cheetham and his associates argue that these alleys are, in fact, vital components of the city that are being menaced by super-block development that will ultimately alter the grain and scale of the urban fabric. The initial stimulus of the installation was to bring awareness about the role of these spaces and to generate communal discussions about possibilities for their use. Cheetham explained that "most alleys are overlooked as something that is just a necessity—they serve a utilitarian function, such as trash collection for instance." For him, alleys are a valuable urban asset. They create a gap in mid-blocks, meaning that buildings do not go over them: "they break up the grain which allows for more sunlight and air to penetrate the city street. This is a reason why they feel so nice." In an interview, Cheetham told AN that 20ft WIDE was part of a larger collaborative project. When asked why the installation had been set up in that specific alley, he explained that the group had initially identified six or seven different urban alleys, and that in order to settle for just one "the trick was to find an alley that had an intersection of several things. It should be located in an area that is not in conflict with people or security measures. Moreover, we were looking for an alley that had some kind of historical significance or interest." He noted, "we were on a very limited budget and were given a quick time frame. Therefore, we needed an alley that had enough quality esthetic to stand on its own with minimal interruptions." The project was initiated last April, when the team began installing twines of bright colors and different shades all across the alley. They also worked with an Austin-based art education organization, Creative Action. The group created “Peace Cranes”, a project which involved young individuals who folded over 1,000 pieces of origami a week prior at the city’s arts festival. The cranes were integrated in the 20ft WIDE installation as a symbol of peaceful community building. The alley is also filled with stacked pallets, burlap sacks in which people have generously given away clothing, polystyrene shipping foam as well as donated plant materials. The jovial and creative nature of the installation is meant to give rise to thought provoking conversations about the role that unused spaces and tucked-back streets play within the city center. Dan Cheetham attended The University of Texas, and later founded Fyoog, a firm inspired by his passion and love for music, the arts, and all things pertaining to architecture, urbanism, and their sub-disciplines. Fyoog’s underlying principles are to combine architectural design and functionality into abandoned or under-utilized urban space, in order to give them a new purpose. Cheetham is deeply concerned with the public realm, and seeks to engage individuals within their city’s creative process. The group hopes the project can be made permanent in the future.
Austin’s new temporary art installation, THIRST, is inspired by Texas’ ongoing periods of severe drought since 2011. According to studies conducted by Texas A&M Forest Services, over 300 million trees have succumbed to the state’s extremely dry conditions over the past three years. Located between the Pfluger Pedestrian Crossway and the Lamar Boulevard Bridge, a white-ghostly tree now hovers over Lady Bird Lake and is surrounded by a floating barrier. The public art installation symbolizes the lack of water that plagues Austin and other Texas territories. Its purpose is to trigger emotion and dialogue about the tragic number of trees that have died due to a serious lack of rainfall and increased human water usage in the region. The tree was staged by Women & Their Work, a visual and performing art organization founded in 1978 and best known for their pioneering artistic spirit and commitment to the enrichment of the Texan cultural experience. Through their work, they seek to engage the community at large in issues that pertain exclusively to the local culture and the built-environment. The tree is a 35-foot cedar elm which has been painted white and stands atop a pedestal over the water. Another major component of this art piece is the installation of 14,000 prayer flags on which black trees have been imprinted. THIRST on Lady Lake seeks to acknowledge the devastating impacts of drought in Austin and to address water conservation issues in Texas. Its striking appearance and levitating stance aims to trigger a discussion about the impacts of climate change and seeks to promote action for conservation, sustainability, and the general well-being of the eco-system. This project is also unique in the sense that it did not receive any city funding. Contributing artists include Beili Liu, Emily Little, Norma Yancey, and Cassie Bergstrom. THIRST will on view publicly until December 26, 2013.
As Harris County voters prepare to make their decision on the fate of Houston’s iconic Astrodome, some lucky locals will have an opportunity to bring home a piece of the historic stadium this Saturday. In preparation for the stadium’s pending rebirth as the “New Dome Experience” (or its possible destruction), the building’s managers are tearing a page out of Minneapolis' playbook as they put sections of the stadium up for sale. A limited quantity of seats, genuine sections of AstroTurf, furnishings, concessions equipment, and various memorabilia—including the space helmets worn by the grounds crew for the stadium's opening 48 years ago—are up for sale at the Astrodome Yard Sale and Live Auction at Houston's Reliant Center on November 2. If you live in the area, you could bring home a pair of two seats for $200, or a 12” by 12” section of turf for $20. Customers will be limited to four seats and four sections of turf, so forget about reconstructing the dome in your backyard. Proceeds from the sale will go to the Astrodome's pending renovation. While two recent polls show that voters are still split on the $217 million dollar proposal to transform the aging stadium into a sprawling 21st century event space in time for Superbowl LI in 2017, the project’s proponents are confident that they will pull through. But, if the historic structure does come to face the wrecking ball, this may be your last chance to claim a slice of the “Eighth Wonder of the World.” Either way, don't miss out on AN and YKK's Reimagining the Astrodome Award Reception on November 4th! Join us at the Grand Lobby of the Fort Worth Convention Center for the launch of our newest print edition, AN Southwest, and be there as the top teams explain their proposals for the future of the Astrodome.
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A Dallas pavilion's exposed structure demanded extremely tight tolerances of Irving, Texas–based fabricator, CT&S.Ten years ago, the Dallas Parks & Recreation Department launched a revitalization project to update 39 decrepit pavilions throughout its park system. One of them—which was to be designed by the New York office of Norwegian architecture firm Snøhetta in partnership with local practice Architexas—sat at the mouth of a meadow lined by old pecan and oak trees on the southern side of College Park. Speaking about the site, Snøhetta director Elaine Molinar said, “You're aware you've left the surrounding neighborhood and entered a more rural setting.” This is the feeling that the team wished to encourage in its design for a new pavilion. The team looked to the surrounding foliage for inspiration. The pavilion super structure is made up of miter-joined steel wide flange sections that form continuous columns and rafters. The members feature a variety of angles that, in assembly, create a torqued and folded profile based loosely on shapes found in the park’s tree canopy. The roof and two sides are enclosed with 1/4-inch plate steel bolted to the insides of the structural sections. To meet the city's visibility requirements for safety, the sides were water jet cut in abstracted leaf shapes of varying sizes and densities, resembling dappled sunlight falling through leaves. Though the pavilion is straightforward in design, its execution was a rewarding challenge for the architects and the fabricator. “The form was influenced by the shape of the tree canopies around,” explained John Allender, principal at Architexas. Starting with an orthogonal form in Rhino, the architects pushed the angles to resemble the natural surrounding shapes. The exposed beams and columns on the structure's exterior magnify the twisted form. Since the canted framework is fully exposed, there was zero tolerance for error. “The unforgiving design is a difficult one to build,” said Bruce Witter of Irving, Texas–based fabricator CT&S. “These were tight tolerances, far beyond AWS standards,” he added. After translating the Rhino file to AutoCAD, CT&S laser cut mockups to test the angles. Following a workshop at the fabrication studio, the team took close to 12 weeks to craft the beams and panels, prepare bolt holes, paint the steel, and affix a special waterproof sheet to the ceiling panel. Installing the pavilion over a concrete slab also required considerable preparation and time. During the course of nearly a dozen site visits by designers at Architexas, the fabricators erected the columns and roof beams using 3D scans to ensure the fidelity of the final product. According to Witter, the canted angles injected errors into the digital layout, so hard templates were the most reliable method for a successful installation. “If you don't have the fixed angle, you won't get the reading right,” said Witter. With the heavily collaborative nature of the design, Allender said working with a local fabricator—CT&S' facilities are located 15 miles from the job site—was essential to the success of the project. “There's no way this project could have been done by someone out of town,” he said.
Artists Dan Havel and Dean Ruck of Havel Ruck Projects have garnered attention for some interesting installation pieces in Houston, blurring the lines between art and architecture. Over the last eight years, the collaboration has constructed temporary artworks using old, wooden homes, bizarre shows of simultaneous deconstruction and reconstruction of architecture. Inversion from 2005 recreates two wood bungalows, donated to the artists by Art League Houston, into a vortex of white wooden planks. In 2010, the Houston Art Alliance sponsored Havel Ruck Projects’s creation of Fifth Ward Jam. A wooden home doomed for refuse in Houston’s 5th Ward became an imaginative community stage of vertically spewed boards.
http://www.youtube.com/watch?v=bz8Y761n5H0 Renzo Piano is again in architectural relationship with Louis Kahn. Early in his career, Piano worked briefly with the Louis I. Kahn office. This time, his architecture is separate but complementary. Set to open on November 27th, the Renzo Piano Pavilion at the Kimbell Art Museum in Fort Worth, TX will expand the exhibition space of the historic 1972 Louis Kahn-designed museum, creating an art complex on the site. A new video preview of the building has been released, in which Kimbell Director Eric Lee explores the exterior features and promotes excitement for its opening. http://www.youtube.com/watch?v=aCfUiEmRQVc Piano’s design plays with light and lightness in the same materials used by Kahn: light-colored concrete, glass, and wood. It adds an underground auditorium, three additional galleries, and a education center to the Kimbell, while using half the amount of energy required by the Kahn Building. Distinct yet in constant dialogue, Piano himself pronounced that the buildings of the Kimbell Art Museum are "close enough for a conversation, not too close and not too far away." [h/t Lee Rosembaum / CultureGrrl ]