This year’s Texas Society of Architects Design Conference focused on the topic of craft and was framed by a discussion of noted regional modernist O’Neil Ford. It was held in the north Texas town of Denton where Ford began his professional career and executed several important early projects. Unfortunately, a severe winter storm hit the region as attendees were making their way to the conference. With the chartered buses unable to make it to the hotel, tours were scrapped and lectures were relocated to the nondescript lobby of the hotel where attendees were staying. This allowed the talks to be attended both by sketchbook-wielding architects and by members of the Old Dominion University Basketball Team who were also staying at the hotel. Likely inspired by the subject matter, they defeated the University of North Texas 70 to 57. Dr. Kathryn O’Rourke gave the opening lecture that located Ford within the larger narrative arc of the modern movement. The Trinity University professor spoke of the role craft came to play in Ford’s work beginning with his Denton projects. Seattle-based Tom Kundig spoke the following morning about his body of work and of preserving a culture of craft within a 120-person firm. He described the difference between skiing on a prepared run as opposed to “Skiing the trees,” in a forest. He used this analogy to describe the profession, but it also was a fitting depiction for the conference. Later that afternoon David Salmela described his search for what a craft-based architecture of northwestern Minnesota should be. Based in Duluth, Salmela refrained from giving his Texan hosts too much grief for their inability to function with only a few inches of snow and ice. Although the lack of tours was disappointing, their cancellation allowed more time for the lectures and provided more opportunities for interaction between speakers and attendees. It also allowed Tenna Florian, who was scheduled to give a tour of Lake|Flato’s Josey Pavilion, to give a talk describing how craft can be used as a tool of sustainability. On Sunday morning the roads had cleared to a point where attendees were able to visit two churches designed by Ford. The Conference ended with a panel discussion at Ford’s 1939 Little Chapel in the Woods. After exploring the building, attendees listened to a panel discussion moderated by noted Dallas architect Max Levy. The session proved to be a fitting end to a most memorable Conference.
Posts tagged with "Texas":
Grand Prairie, Texas, has been spared what could have been the nation’s first indoor ski resort and Hard Rock Hotel. The project’s developer, The Grand Alps Group, pulled the $215 million proposal after a meeting with Grand Prairie’s mayor and city manager. They were not happy about losing the big fish. “We were a little surprised,” City Manager Tom Hart told the Dallas Morning News. “We thought we had a pretty good meeting.” In a press release, Sherman Thurston, Grand Alps’ CEO, cited a disagreement about “terms and conditions and costs” as his reason for pulling out of the deal. Apparently the $30 million in tax exemptions, offer to purchase half the land, and return of 75 percent of the hotel-motel taxes that Grand Prairie promised Thurston wasn’t enough to convince the developer, who claims to already have financing in place to build the project, including $100 million from foreign investors, mostly Chinese. Grand Alps is currently looking for other possible sites in the Dallas–Fort Worth area.
Eavesdrop is scratching its head. First, in January, Gensler released new renderings for the Hotel Alessandra in downtown Houston. Where before the firm had proposed a sleek modern glass tower for the site with strong, swooping vertical lines that accentuated the building’s height, the new iteration shows a collection of rectilinear facade treatments of varying levels of transparency arranged to express a podium, tower, and crown with cornice. Jonathan Brinsden, CEO of the project’s developer, Midway, described the new look as a “modern interpretation of European style.” Then in February we learned from Nancy Sarnoff of the Houston Chronicle that real estate company Hines is in the middle of constructing “a dense European village” (a.k.a. gated community) in the northwest 610 Loop full of townhouses in “Regency and Normandy” styles. The development also features a canal, so residents can pretend they live in Amsterdam, perhaps. A day later, news emerged that The Woodlands Development Co., a subsidiary of The Howard Hughes Corp., is building “luxury high-rise residences with a European sensibility” designed by Atlanta architecture firm The Preston Group. By the look of the rendering, however, the project’s sensibility seems to be closer to that of The Westin hotel that is rising next door. Eavesdrop is unsure what the marketing benefits might be of touting Europeanism in real estate development projects of this kind, nor if there is a hell waiting for those who would seek to undermine and cheapen 2,000 years of Western Civilization so that they can chisel a few extra bucks out of their customers, but we are damn sure not going to be duped into aping this meaningless drivel!
Shigeru Ban: Humanitarian Architecture Dallas Center for Architecture 1909 Woodall Rodgers Freeway Dallas, Texas Through April 25 The Dallas Center for Architecture is presenting a selection of Pritzker Prize winning architect Shigeru Ban’s disaster relief designs. Ban’s humanitarian architecture has confronted some of the world’s most devastating natural and manmade cataclysms in the last 20 years. The Japanese architect is known for his pioneering designs for United Nations refugee shelters in the mid-1990s, using inexpensive and often recycled materials such as paper tubes and cardboard to make durable, shock-proof structures. Projects on view include the Tsunami Reconstruction Project (2005, Sri Lanka), Onagawa Community Center (2011, Onagawa, Japan, pictured above), Cardboard Cathedral (2013, New Zealand), and Paper Nursery School (2014, Yaan, Japan). Complementing the exhibition is a film screening on April 8 of a 2006 documentary about Ban, Shigeru Ban: An Architect for Emergencies. The film features extensive interviews with the architect about the practical, philosophical, and aesthetic aspects of his work. The exhibition is held in collaboration with Austin College, which will present Ban with the 2015 Posey Leadership Award at the Perot Museum of Nature and Science on March 26.
At a ceremony held in mid-December, Elizabeth Chu Richter was inaugurated as the 91st president of the AIA. Richter was born in Nanjing, China, grew up in Hong Kong and Dallas, and holds a Bachelor of Architecture from the University of Texas. In 2007, she served as the president of the Texas Society of Architects and more recently represented Texas on the AIA’s National Board of Directors. Richter also heads the Corpus Christi-based architecture firm Richter Architects which won the 2011 Texas Society of Architects Firm Award. “As architects, we use our creativity to serve society—to make our communities better places to live," Richter said at the event. "Through our profession and our life’s work, each of us has shaped and reshaped the ever-changing narrative that is America in both humble and spectacular ways.”
On the evening of Thursday, November 13, temperatures in Austin, Texas, dropped below freezing. In spite of the fact that most locals are unaccustomed to this degree of frigidity, more than 1,000 people turned out for Creek Show: Light Night 2014. The event, which ran from five in the evening until midnight, celebrated the unveiling of a series of light installations along Waller Creek between 5th and 9th streets. Organized by non-profit group Waller Creek Conservancy, Creek Show is a prelude of sorts to the ongoing plan to transform the flash-flood prone waterway into a chain of public parks designed by Michael Van Valkenburgh Associates and Thomas Phifer and Partners with lighting design by Linnaea Tillett. It features five "illuminating works of art" by local architects and landscape architects, including Baldridge Architects, Design Workshop, Jason Sowell, Legge Lewis Legge, and Thoughtbarn, which turned in High Water Mark (pictured at top). Located under the 7th Street Bridge, High Water Mark is composed of 100-foot-long undulating, electroluminescent wires suspended 20 feet above the waterline. Hidden Measures is by University of Texas landscape architecture professor Jason Sowell. Sowell stenciled messages in photo luminescent paint along the creek that describe the waterway's physical dimensions and hydrologic infrastructure. Baldridge Architects set up a colonnade of sorts of LED tubes called Tracing the Line. The succession of vertical lights rise out of the creek, indicating its path through this segment of downtown Austin. Legge Lewis Legge's Light Bridge is made up of a rope and hanging electroluminescent wire that arc over the water, suggesting a bridge. Flow by Design Workshop (below) is a series of tarps strung across the creek that are illuminated by color changing lights. The tapestries roll and flutter in the wind, emulating the coursing of the water below.
yamatane Rice Gallery 6100 Main Street, Houston, Texas Through November 23 yamatane, on view now at Rice Gallery in Houston, is a site-specific installation by Japanese artist Yusuke Asai. Created in just under two weeks by Asai and a team of student volunteers working around the clock, yamatane is composed of pigments made from soil collected in the Houston area—brown, yellow, pink, red, and even green dirt that was gathered before the artist arrived and ground into pigment with only water added to turn it into paint. Asai used the natural paints to create what he calls an “earth painting.” It depicts a dense landscape of rolling geologic forms and tribal patterns populated by imaginary creatures and characters that spill from the gallery walls onto the floor. In Asai’s words, “I choose to use the earth as a medium because I can find dirt anywhere in the world and do not need special materials. Dirt is by nature very different than materials sold in art stores! Seeds grow in it and it is home to many insects and microorganisms. It is a ‘living’ medium.” Go see it before it’s gone. Asai embraces the ephemeralness of his medium, which can be wiped away with water. He has been making these paintings since 2008 and almost none remain today.
San Antonio firm transforms vacant industrial building into sunlit workspace.Dissatisfied with their two-story office, San Antonio architecture practice Overland Partners recently went looking for a new home. They found it in an unexpected place: a long-vacant plumbing supply warehouse within the city's burgeoning arts district. The 1918 Hughes Plumbing Warehouse offered the firm exactly what they wanted—a large open floor plan—in an architecturally refined package. The timber-framed, brick-clad building "is simple," said project architect Patrick Winn, "but it's really elegant and beautiful when you're able to look at it." The problem was that years of disuse had left their mark. "When we first viewed it, it was really far gone," recalled Winn. The original windows had been broken up, and the roof had flooded. Undaunted, the architects took on an extensive renovation project, with the result that today the former plumbing distribution center is a boon not just to Overland, but to the neighborhood as a whole. Prior to renovation, Hughes Warehouse was entirely encased in a double-width brick wall, except for a few garage door openings and two levels of clerestory windows. While the clerestories, approximately 16-20 inches and 20-25 inches in width, provided a good dose of daylight to the interior, they did not provide views out, nor did they facilitate the transition from parking lot to studio. "At Overland we really enjoy blurring the line between the outdoor, natural realm and the indoor, built realm," said Winn. "Right from the get-go we said: we have to cut a courtyard into the building and elongate that entry sequence." Overland carved out approximately 2,000 square feet of space for the new courtyard, which is faced with a custom glass and steel curtain wall. The transparent opening floods the office interior with light and frames views for the occupants. It has also become a de facto community space. "What's been nice is that runners' groups and cycling groups are starting to use our courtyard as a hub for activity," said Winn, who notes that live music and other events at a neighboring coffee shop are an additional draw. "It's brought a lot of life and energy into our space from the courtyard." To secure the courtyard after hours, the architects designed custom steel gates to replace the original, graffiti-covered garage doors. To tie-in to the warehouse's arts-district location, and to pay homage to the graffiti, Overland looked to Jackson Pollock for inspiration. They pixelated photographs on Photoshop before transferring the file to AutoCAD and sending the pattern on to Rivercity Industries, who laser-cut the design into the doors. The doors themselves were fabricated by Overland Workshop. "From the exterior, especially when the lights are on, when you drive by, there's almost a twinkling effect," said Winn of the perforated gates. "They're really neat." The architects punched additional windows into the remaining brick facade. "We decided to honor the old brick building," said Winn. "Any new insertion is done with steel and glass." To mitigate solar gain, the new windows are extruded about a foot on the east side of the building, and about two feet on the west. The clerestories and courtyard curtain wall are equipped with automated shades. Though the original steel frames around the clerestory windows would only accept 1/4-inch laminated safety glass, the new windows feature one-inch-thick high performance glass. Additional sustainability measures include a complete board insulation system over the roof. "We loved having brick on the interior, so what we couldn't do there in terms of insulation, we made up for on the roof," explained Winn. "We over-insulated it." A rooftop solar setup offsets about 60 percent of the office's energy consumption. In addition, the architects re-used original materials wherever possible. They built the interior stairs out of old joists, and the contractor saw-cut discarded concrete into pavers for the abutting alley. Even the brittle roof decking found a second life as board forms for the building's cast-in-place concrete elements. The Hughes Warehouse building has exceeded the architects' expectations in terms of bringing the office back together, said Winn. "It's done wonders for us from the standpoint of office culture. People seem to really love working here—it's not a place that's a drag to work in, it's very comfortable." He noted that in less than two years the firm has grown from just over 40 members to about 70, and recalled several recent events, including art shows and a courtyard holiday party, held in the renovated space. "I have to say that Overland's been elevated to a whole other level."
Dialog, whether between teacher and student, master and apprentice, or a group of peers, has been an essential element of architectural practice throughout history. At next week's Facades+ Dallas conference the tradition continues, with a series of dialog workshops following day 1's symposium. Facade geeks from around the world will gather at the premier conference's Dallas debut to chew over both abstract and concrete challenges, from designing envelopes for resilience to dealing with the problem of glare. Attendees can create their own dialog workshop experience by selecting from one morning workshop and one afternoon workshop. All three afternoon workshops include a field trip to one of Dallas' many architectural destinations. The morning offerings include "Next Gen Passive: Exploring the Links between Passive Strategies, Smart Design, Sustainability, and Resiliency," coordinated by Atelier Ten's Emilie Hagen. Panelists Z Smith (Eskew+Dumez+Ripple) and Ryan Jones (Lake|Flato) will join Hagen to discuss contemporary developments in passive design and question the conflation of sustainability with the elimination of resilience, with reference to specific examples from the three firms' work. The field trip-oriented afternoon workshops include "Digital Design and Fabrication and the Shifting Paradigm of Architectural Research," with Brad Bell of TEX-FAB and HKS LINE's Heath May. Participants will tour UT Arlington's fabrication lab facilities, hear from Bell and May about their work combining academic research and studio practice, and talk to SMU student James Warton about his doctoral research on metallic alloys. Do not miss this opportunity to rub shoulders with the movers and shakers of the AEC industry: register for Facades+ Dallas today, and reserve your spot in two dialog or tech workshops before they sell out. Besides the hands-on, immersive workshops, the conference offers two full days of exciting keynotes, roundtable discussions, exposure to cutting-edge technology, and networking galore. Learn more at the Facades+ Dallas website.
Dallas is growing up. And just like the rest of us, the city is doing some soul-searching on its way from adolescence to adulthood. "Growing up doesn't necessarily mean growing out; bigger isn't necessarily better," said Heath May, director of HKS LINE and co-chair of the upcoming Facades+ Dallas conference. "People are starting to understand that it's time to start thinking about public policy and the way it relates to placemaking." May points to recent events, including the New Cities Summit and "Building the Just City," the third annual David Dillon Symposium, that have brought architects, city planners, and policymakers together to discuss the Big D's urban future. At the end of this month, experts in the field of facade design and fabrication as well as representatives from the City of Dallas, Dallas Morning News critic Mark Lamster, and other influential Dallasites will continue the conversation at the Texas debut of the Facades+ conference series. At the top of the list of local concerns, said May, is the idea of the connected city. When he recently saw 1930s footage of downtown Dallas, May was struck by "the sheer amount of people on the sidewalks in contrast to what you see today. Downtown is coming alive now, but it's struggling." Part of the problem is the lack of physical connectivity to adjacent neighborhoods, especially Deep Ellum, stranded on the other side of IH345, and the Trinity River. Groups like A New Dallas, which proposes tearing down the decrepit IH345, and AIA Dallas "are looking at how we can stitch the city back together—at how we can provide workforce housing to live, walk, and enjoy downtown," said May. In terms of facades, said May, the challenge is to "understand architecture as part of a system." The theme of the Facades+ Dallas is resilience; resilience, May insists, depends on various scales of design as well as on the cooperation of clients and policymakers. "We're inviting clients, developers, and members of the community to participate in these discussions when we're looking at things the city is wrestling with," said May. "Things like glare: how do you balance that with other criteria such as mitigating solar heat gain?" May is co-leading a dialog workshop on day 2 of the Facades+ conference, with TEX-FAB's Brad Bell. Participants in "Digital Design and Fabrication and the Shifting Paradigm of Architectural Research" will take a field trip to the University of Texas at Arlington, where May and Bell are involved in a consortium designed to bring together academic research and professional practice. The workshop includes a tour of UTA's fabrication facilities and a discussion of how new tools are shaping practice, as well how practice and research exist in symbiosis. Other events at Facades+ Dallas include a symposium panel on glare, plus "Balancing Cost and Performance Through Simulation," a hands-on tech workshop offered by HKS LINE's Tim Logan and Paul Ferrer. To register for dialog or tech workshops and to learn more, visit the Facades+ Dallas conference website.
Frank Gehry's Walt Disney Concert Hall in Los Angeles, Scott Johnson's Museum Tower in Dallas, and Rafael Viñoly's Vrada Hotel & Spa in Las Vegas have at least one thing in common. All three provoked the ire of their neighbors when glare from their reflective facades raised sidewalk temperatures, blinded drivers, or—as in the Museum Tower case—jeopardized the nearby Nasher Sculpture Center’s collections. Glare is increasingly a problem in facade design, says Curtainwall Design Consulting president Charles Clift, in part because of the tools contemporary architects have at their disposal. "The conclusion I came to is that the digital age of architecture has allowed designers to create anything they can imagine, but with that comes some unintended consequences." Clift and other experts in high-performance envelope design, including George Loisos (Loisos + Ubbelohde) and Luke Smith (Enclos), will dig into the problem of glare in a symposium panel at this month's Facades+ Dallas conference. Nasher Sculpture Center director Jeremy Strick, David Cossum of the City of Dallas, and the Dallas Morning News' Mark Lamster will join them to discuss the reflectivity challenge within the local context. The conversation will continue on day 2 of the conference at the "Curating Daylight: Effective Control of Interior Illumination & Issues of Exterior Reflectivity" dialog workshop (led by George Loisos and Susan Ubbelohde), which meets at the Nasher Sculpture Center. Advancements in building materials offer one solution to the glare challenge, which exists in tension with the demand to reduce thermal gain. "An easy way for the facade to accomplish sustainability goals is to use highly reflective glass, but obviously that rejected glare goes back into the environment," said Clift. Happily, innovations by today's glass manufacturers, including low-e coatings, boost performance, reduce glare, and allow a decent amount of visible light transmission. External or internal sunshades can also do double duty as thermal barriers and glare blockers. But both specialty glass and shading structures come at a cost, and are often the first to go when the budget gets tight. "A lot of the time, the issue of glare has been taken into account in the design process, but it’s one of the first components that might get value-engineered out," said Smith, who will moderate the panel. Municipal-level regulation is another possible fix for the reflectivity problem. Clift reports that some Dallas builders he’s talked to are confident that the market will sort things out. They say that the Museum Tower/Nasher Sculpture Center debacle "is such a bad situation that a savvy developer won’t do that in the future." Smith is not so sure. "This is an urban problem, but as soon as the city tries to step in, people say, 'No, this has nothing to do with the city,'" he said. "I think the problem is getting worse because density is increasing in cities, and right now glass is predominantly the building material of choice." Dallas, he notes, is the perfect place to explore the glare issue. "The city’s going through a regeneration: the place is coming back. Plus, it’s sunny, and they like glass buildings." To hear more from Smith, Cliff, and the other panelists about the problem of glare, register today for the Dallas Facades+ conference. The complete lineup of symposium speakers, dialog workshops, tech workshops, and networking events can be found on the conference website.
If Dallas is not already on your list of top United States architectural destinations, it is past time to make a correction. The city boasts the largest concentration of Pritzker Prize–winning architects' work anywhere, including Philip Johnson's Thanks-Giving Square, I.M. Pei's Dallas City Hall, Fountain Place, and Morton H. Meyerson Symphony Center, Renzo Piano's Nasher Sculpture Center, Foster+ Partners' Winspear Opera House, and Morphosis' Perot Museum of Science. The thriving Dallas Arts District is bursting with performance venues and architectural gems like Edward Larabee Barnes' Dallas Museum of Art, SOM's Trammell Crow Center, and REX/OMA's Dee and Charles Wyly Theatre. And more projects are in the works: Cesar Pelli is designing an office complex for Uptown, and a second Santiago Calatrava-designed bridge is planned to span the Trinity River. Attendees at this month's Facades+ Dallas conference will have a chance to experience the Big D's outstanding architecture scene in person. The conference's dialog workshops, in particular, were designed with Dallas' built environment in mind. All three afternoon dialog workshops incorporate a field trip to either the Perot Museum, the University of Texas at Arlington (where participants will tour the fabrication lab), or the Nasher Sculpture Center. To learn more about Facades+ Dallas or register for a dialog workshop field trip, visit the conference website.