The MK:U International Design Competition—a collaboration between Milton Keynes Council (MKC) and Cranfield University—announced Hopkins Architects as the unanimously selected winner of their new model university competition launched in early 2019. Milton Keynes is a large town in Buckinghamshire, England, to the west of London. The winning scheme was chosen mainly because of its clarity and confidence. The plan boldly illustrates a red centerpiece at the heart of the new project. Encased in an all-glass lobby "reminiscent of a giant friendship bead" is the round forum building featuring a central lecture theatre. MK:U’s plans to reach “beyond the scope of a traditional university” and will focus on vocational and STEM subjects relating to digital, robotics and artificial intelligence. The MK Futures 2050 program anticipates the population of the Buckinghamshire new town will more than double. The proposed new university is scheduled to open to its first undergraduates in 2023. It is expected to be delivered in three phases and complete within 15 years. Mike Taylor, principal, Hopkins Architects, added, “This commission is special because MK:U presents a unique opportunity to rethink higher education through its radical curriculum focusing on the digital economy.” Inspired by the famous infinity street at MIT, the project creates an open quarter with a series of orthogonal academic pavillions described as "new urban frontage" and a pedestrian and bike-friendly atmosphere envisioned for the future. Hopkins’ proposal echos MK’s original vision with "calm, super-rational buildings surrounded by greenery." Competition director Malcolm Reading said: “The Hopkins scheme celebrates and develops the emblematic Milton Keynes urban design principles, elegantly re-interpreting the concept of the original town block.” The jury included Santander UK CEO Nathan Bostock, ITV’s non-executive chairman Sir Peter Bazalgette, professor Dame Madeleine Atkins, and was chaired by chief executive and vice-chancellor of Cranfield University, professor Sir Peter Gregson. The winning team is drawn from international firms and suggests a collaborative approach. This includes Prior + Partners, Expedition Engineering, Atelier Ten, GROSS. MAX., Buro 4, RLB Schumann, GRFN, Caneparo Associates, QCIC, Nick Perry Associates, Access=Design, Cordless Consultants, Sandy Brown Associates, FMDC and Tricon. “All our best projects have come about through a collaborative process and the next step is to test the ideas we had during the competition with the university leaders, local council and people of Milton Keynes.” said Taylor. The original competition attracted 53 team submissions made up of 257 individual firms from across the globe. Other shortlisted finalists were led by Co:MK:U; Hawkins\Brown; Lifschutz Davidson Sandilands; and OMA. The shortlisted team’s design proposals can be seen on the competition website.
Posts tagged with "Universities":
Libraries are temples for books, though Snøhetta's plan for a new library at Temple University in Philadelphia argues that you can have one without the other. The design of the Temple University Library is influenced by the academies of ancient Greece, which privileged social spaces for discourse over the storage and management of written materials. It almost seems as if the Oslo- and New York–based firm is pioneering a new typology within its own practice. In December 2015, Snøhetta unveiled its "library without books," also based on the Greek stoas and agoras, for Toronto's Ryerson University. Including Temple, Snøhetta has designed eleven libraries, both standalone and as part of larger programs. Although Ryerson's library was built first, Snøhetta has been in talks with Temple about a new library since 2013. The library's wooden arches mark entryways that slice into the rough stone facade. Steel mullions support pleated frameless glass windows, increasing transparency from the outside at the main entrances. Arches continue into the sweeping main lobby, where a three-story, domed atrium features an oculus that serves as a wayfinder by opening up the library's upper-floor functions visually to students in the main lobby. A cafe and a 24/7 study space on the ground floor round out the interior program. Classroom space extends outside, with stepped seating on the green roof and ground-floor plazas to encourage congregation. To manage Temple's two million-plus books, periodicals, DVDs, and other materials, the new library uses an automated storage and retrieval system (ASRS) that allows the library to devote more square footage to "learning spaces" and less space to the stacks. The video below shows an ASRS in action at Santa Clara University. https://www.youtube.com/watch?v=ez9Z7rHqk1Y The idea (ideal, to some) of libraries as musty repositories of hardcopy information is patently outdated. Librarians are quick to embrace their role not only as collection managers but as communication and content facilitators, whatever the medium. The impulse behind the design, however, recalls the failed 2012 Foster + Partners redesign the New York Public Library's main branch on Fifth Avenue at 42nd Street. Plans called for removing seven floors of stacks under the Rose Main Reading Room to create a 300-person workspace. New York culture leaders widely criticized the plan for moving most of the library's books off-site, or underground. (Dutch firm Mecanoo was awarded the commission in September 2015.) Though the top floor at the Temple Library is programmed for a sunny reading room with stacks, books are explicitly not the design's focus. It's worth noting that around 1,800 years passed between the founding of Platonic Academy and the invention of the printing press. The ancient Greek academies privileged social space over materials management because there were far, far fewer books; information transmission today takes place primarily though image and text. Perhaps the invocation of the scholarly ancient Greeks softens the capitulation to a depressing reality: the 2010 Collegiate Learning Assessment found that one-third of college students read less than 40 pages per week for classes. The library is one part of a $300 million campus expansion plan that includes a to-be-built quadrangle, the public space at the heart of the campus' new social and academic core. Construction of the library should be complete by 2018.
The team of Copenhagen-based Henning Larsen Architects and Cincinnati-based KZF Design have been selected by University of Cincinnati to design and construct the new $100 million Carl H. Lindner College of Business. The project will consist of 250,000 square foot of class rooms and facilities and will sit on the site of the current Russel C. Myers Alumni Center. The team was selected from a shortlist of three offices that also included London’s Foster+Partners and Bath, U.K.–based FCB Studios International. The process of picking international firms for the project is part of the University’s Signature Architecture Program, a campus planning program which has brought world renounced architects to the University of Cincinnati to design campus buildings for the past 15 years. Henning Larsen will join Frank Gehry, Michael Graves, Peter Eisenman, and Thom Mayne, among others, in having a project on the Uptown campus. KZF Design will act as the local architect of record on the project. The interdisciplinary firm provides architecture, engineering, interiors, and planning, throughout the United States, and has worked on the University of Cincinnati campus in the past. Previously KZF worked with Thom Mayne as part of the Signature Architecture Program on the UC Campus Recreation Center. Founded in 1959, Henning Larsen Architects is known for its civic and cultural work, including the crystalline Harpa Concert Hall and Conference Centre in Reykjavik, Iceland and the more recent Kolding Campus at the University of Southern Denmark. With work throughout Europe and the Middle East, this project will be Henning Larsen’s first major project in the United States. Drawing on the traditions of Scandinavian design, their work often focuses on the control of natural light and the making of central communal spaces.
It has been 30 years since Montreal has built a new hospital. CannonDesign in association with Montreal based NEUF Architect(e)s, and l’Université de Montreal aim to amend that situation with a new three tower hospital complex. Since its founding in 1995, Centre Hospitalier de Montreal (CHUM) has hoped to consolidate the three hospitals that make up its network: Hotel Dieu, Hopital St. Luc and Hopital Notre-Dame. Overcoming political wrangling and changes of governments, it would be ten years before the two square block site in the heart of the city was settled on and approved. Adjacent to the current Hopital St. Luc, CHUM when complete will be one of the largest academic medical centers in North America. With an estimated cost of over $2 million, the hospital will be the largest public/private partnership building project in North America. With a goal of engaging the surrounding community, the complex includes large public gathering spaces, more intimate spaces of contemplation, and monumental art pieces, all in a landscape between three towers. At the heart the project will sit the curvaceous 500-seat auditorium building. The perforated metal clad auditorium forefronts the hospitals role as a center of education and research. CHUM will be the anchor of the Quartier de la Santé — Montreal’s new health district. Its location between two of Montreal’s more dynamic neighborhoods (Vieux Montreal and the Latin Quarter) will also provide active link in area that currently divides the city. The first construction phase, which will include all of the 772 single-patient rooms, as well as the diagnostic and treatment rooms, is set to be completed in fall 2016. The second and final phase should be complete in 2020. Phase Two will include an auditorium and administrative office building.
Northwestern University breaks ground on biomedical research tower to succeed Bertrand Goldberg's Prentice Women's Hospital
Northwestern University broke ground today on the latest addition to their downtown medical campus: a glassy, high-rise complex for biomedical research that architects Perkins + Will have previously described as “a high-tech loft.” The Louis A. Simpson and Kimberly K. Querrey Biomedical Research Center replaces Bertrand Goldberg's old Prentice Women's Hospital, which was demolished last year after a contentious preservation fight ended with the Commission on Chicago Landmarks voting unanimously to deny the building protection. Part of Northwestern's Feinberg School of Medicine, the new 600,000 square foot, 12-story research center will include nine laboratory floors, and could eventually reach 1.2 million square feet with the addition of a 40-story tower in future phases of construction.
An early Frank Gehry–designed house about an hour south of Minneapolis is on the move—again. The Winton Guest House, which Gehry designed in the early 1980s for Penny and Mike Winton, sits on property in Owatonna, Minnesota recently sold by the building's owner, the University of St. Thomas. They have until August 2016 to relocate the playful, postmodern cluster of forms. It's not the first time the house has been relocated. In 2008 the university divided the structure into eight sections for the 110-mile move from its original site west of the Twin Cities on Lake Minnetonka. Last year the university sold its Gainey C. Gainey Conference Center property, on which the Winton house now sits. Victoria Young, chair of the department of art history at the University of St. Thomas, said there are several options for the move. “We could move the house back up to campus now. We could store the house and move it onto campus in conjunction with building a new Fine Arts Center, something that has been talked about a bit, we could sell the house at auction or a cultural organization could step up and save it. Or a donor could come to be and make any of these things happen,” she said. But wherever it ends up, she added, “my administration has committed to getting the house off the property before the August 2016 deadline, when it would become the property of the new owners.” Young meets with the University body overseeing the move, the Physical Facilities Planning Committee of St. Thomas' Board of Trustees, on Feb. 18, and is expected to determine a course of action the next day. The University has hired Consultant Chris Madrid French, a preservationist and former director of the now-defunct Modernism + Recent Past Initiative of the National Trust for Historic Preservation. French pulled off a similar move with the historic Capen House in Winter Park, Florida. An early and relatively modest example of Gehry's work, the Winton House offers a glimpse at the residential design sensibilities of an architect who would go on to achieve stardom for theaters, pavilions and museums. “I would love for the house to be open to the public to showcase the early part of Frank’s career, when he began working outside California and when important clients, Mike and Penny Winton, gave him the freedom to create art out of architectural form,” said Young. “This paved the way for the Weisman Art Museum, Guggenheim Bilbao, etc. Gehry is one of the most important architects of the twentieth century, and I am committed to a preservation of his legacy.”
In August, the Frank Lloyd Wright School of Architecture found its accreditation in jeopardy, following a rules change by their regional accrediting board, the Higher Learning Commission (HLC). Now the institution needs to raise $2 million before the end of 2015, or it will lose its standing once the new rules take effect in 2017. The challenge lies in establishing the school as an entity fully independent of its parent company, the Frank Lloyd Wright Foundation. HLC, apparently targeting for-profit universities, said it would no longer offer credit to schools that are part of institutions whose “missions extend beyond academics.” As part of a foundation that also advocates for preservation and engages in non-academic pursuits, the Frank Lloyd Wright school found itself in violation of these new rules. Now the plan is to spin off the school, which earned accreditation in 1992, into a financially independent entity. To do that, the school's administrators say they need to scrounge at least $1 million in cash and pledges by March 27, and then another $1 million by the end of 2015. If they meet that goal, the Frank Lloyd Wright Foundation has agreed to make a one-time gift of $7 million. "This campaign is the only opportunity to save the Frank Lloyd Wright School of Architecture as we know it," said Maura Grogan, chair of the school’s board of governors, in a press release. If they don't reach their fundraising goal, President Sean Malone told AN the school "would remain deeply dedicated to shaping architectural education," but would lose its ability to offer accredited degrees after 2017. They could still team up with accredited institutions to offer such credentials, but their standalone certifications would carry considerably less weight in the professional world. Malone said the rules change had the unintended effect of risking the school's standing due to its unique status as a financially dependent subsidiary of a larger foundation. "It was an imperfect storm," Malone said. “Right now we're very hopeful and focused on bringing in people who believe in this cause." The Frank Lloyd Wright School of Architecture offers a professional M.Arch degree program with a focus on hands-on studio experience at its two campuses: Taliesin West in Scottsdale, Arizona, and Taliesin in Spring Green, Wisconsin.