Posts tagged with "Washington, D.C.":
Grimshaw and Beyer Blinder Belle have been tapped by Washington, D.C.'s Union Station Redevelopment Corporation (USRC) to spearhead a master plan to spruce up the city's iconic train station. The "Master Development Plan for Union Station's 2nd Century" builds upon the hugely ambitious, $9 billion development plan that Amtrak and developer Akridge unveiled in 2012. As AN wrote at the time: "The 3-million-square-foot project promises to unite the neighborhoods of Capitol Hill and NoMa, a former industrial area transformed into a leafy residential neighborhood." Now, Grimshaw and Beyer Blinder Belle are tasked with making that vision (or something like it) a reality. To do so, the firms will be conducting a comprehensive planning process with public engagement and environmental assessment. They will also draw up conceptual designs to improve the passenger experience and overall functionality at the station. "The Master Development Plan for Union Station’s 2nd Century will respect and reinforce the station’s historic setting, while also integrating it with surrounding neighborhoods, and the construction of Burnham Place, a three-million-square-feet of mixed-use space, parks, and plazas to be developed over the rail yard," said the USRC, Amtrak, and Akridge in a statement. This master plan will actually be the second Union Station master plan that Grimshaw is currently overseeing. Last fall, the firm unveiled a very futuristic vision for Los Angeles' train station of the same name.
Richlite-clad museum expansion inspired by industrial context and Old West art collection.Commissioned to craft an extension to the Antoine Predock–designed Tacoma Art Museum, Olson Kundig Architects sought inspiration in both the history of the site and the art collection itself. Located in the city's Union Depot/Warehouse historic district, the museum is surrounded by brick buildings formerly dedicated to industry and transportation. "The new addition needed to respond to both the neighborhood context as well as the existing building," explained design principal Tom Kundig. "It has clean lines that recall the existing structure but recalls more directly the natural, earthy materials found in the neighborhood." In contrast to the stainless steel-clad original wing, which houses the museum's modern art collection, the new wing—dedicated to the art of the American West—is wrapped in layers of Richlite sunscreens. "The addition's use of exterior shutters references symbols of the American West—fences, filtered barn light, and railroad box cars," said Kundig. "It's fitting that the Haub Family's Western American Art collection now sits at the westernmost terminus of the rail line established by President Lincoln." A new 30-foot-high canopy serves as the junction of the museum's old and new wings, and creates an exterior gathering space for museumgoers. "The intersection between the existing building's modern collection and the new structure's western art collection became the focal point of a new museum experience," explained Kundig. Built from a combination of aluminum grating and stainless steel panels reused from demolished portions of the original structure, the canopy's material palette mediates the gap between the architectural languages of the two spaces. It also suggests a seamless integration into the Predock-designed building, despite the fact that it is structurally isolated for seismic safety. For the exterior of the new galleries, Olson Kundig chose Richlite, an earth-toned composite product made from waste paper and resin, both because it is locally manufactured, and as a reference to Tacoma's lumber industry. The architects used Richlite in two forms: as panels for straightforward cladding; and as dimensional lumber to build overlapping sets of shutters. Comprising both fixed and operable screens, the shading system controls the amount of sunlight that enters the galleries and allows museum staff to adjust visibility into and out of the building. The moveable screen panels, each 16 feet 4 inches wide by 16 feet 6 inches tall, are controlled by a hand crank located in the lobby. The Tacoma Art Museum expansion project held special meaning for Kundig, whose firm is located in Seattle. "Tacoma is an important part of our local community, so it was deeply important for me to create something significant in this place with so much history," he said. "That the project is a Western art collection adjacent to a modern art collection, is incredibly exciting. It's an opportunity to explore the similarities and differences in American art, to examine our history and contemplate our future."
With its combination of iconic references to the nation's past and the machinery that drives our political present, Washington, DC presents a particular set of problems and possibilities to facades innovators. Top experts in high-performance building envelope design and construction will this gather this Thursday, March 5, to explore some of these issues during Facades+ AM: Washington Three by Three, a morning seminar taking place at the District Architecture Center. Facades+ AM is a quick-take variation on the popular Facades+ conference series. Over the course of the morning, three panels of three experts and one moderator each will take up questions concerning facade design and construction in the nation's capital. Session one, "Design Opportunities in a Blast Resistant World," moderated by Steve White, president of AIA DC, will consider how innovative designs can flourish despite security restrictions. Washington Post columnist and University of Maryland professor emeritus Roger Lewis will moderate session two, "Innovative Facades Come to Washington," highlighting cutting-edge facades in the DC area. Session three, "The New Face of Monumental Washington," moderated by Washington Architectural Foundation president Janet Bloomberg, will describe the role played high-performance building envelopes in both old and new monuments. Mark Strauss, senior partner at FXFOWLE, and AN's editor-in-chief William Menking will deliver opening and closing remarks. Seats are limited; register today for Facades+AM: Washington Three by Three. For more information, include a detailed agenda, visit the symposium website.
A miniature LEGO model of the Lincoln Memorial has just launched under the LEGO Architecture brand, a “Lego for grownups” product line that celebrates architecture and the chameleon capabilities of the LEGO brick. Featuring recreations of landmark buildings such as the Leaning Tower of Pisa, Sydney Opera House and Dubai’s Burj Khalifa, the latest set honors the memorial completed in May 30, 1922 in homage to the 16th president of the United States. The final cost of the memorial approached $3 million, although just $2 million had been initially allocated. Despite not being immediately apparent to the naked eye, the building’s columns and exterior walls are slightly inclined toward the interior to compensate for visual perspective distortions that would make the building appear to bulge at the top. Honoring the 57th anniversary of Lincoln’s assassination, the memorial designed by Henry Bacon resembles a Greek temple, with 36 fluted Doric columns to represent the number of recognized states at the time of Lincoln's death. Visible from the outside is the famous oversize statue by Daniel Chester French, with Lincoln’s left hand clenched to symbolize strength and determination and his right palm open in a show of charity and compassion. While the LEGO model measures a mere two inches tall, 4 inches wide, and 3 inches deep, it has an easily removable roof for viewing the statue inside. Aspiring towards a true-to-life remake, the model includes the steps leading up to the building from the reflecting pool. The set includes a sorely-needed plastic brick separator for detaching those notoriously clingy flat bricks, as well as a 65-page instruction manual.
With some help from Gensler, ASLA to turn its headquarters into the Center for Landscape Architecture
The American Society of Landscape Architects (ASLA) has tapped Gensler and landscape architecture firm Oehme van Sweden to turn its Washington, D.C. headquarters into the state-of-the-art Center for Landscape Architecture. ASLA bought its 12,000-square-foot home in 1997 for $2.4 million and watched as its value increased to $6.9 million. Since the building was about ready for some fixing up, the society decided it was a good time to go ahead and truly transform it at a cost of $4 million. The building’s existing facade is set to be altered so that the new center is more inviting to passers-by. Inside, the building will be reconfigured to create rooms for meetings and events, exhibitions, a catering kitchen, and restrooms. An existing enclosed double staircase will also be opened to create a three-story atrium that can be dressed up with elements of landscape architecture. The renovation has something for ASLA’s current (and future) employees as well. The new space comes with an upgraded kitchen and restrooms, new conference rooms and administrative space, and even a “wellness room” and “focus rooms." Gensler is aiming for LEED Platinum designation with the renovation. “This is an opportunity to create a facility to reflect the image and ethic of our profession—a world-class Center for Landscape Architecture that will inspire and engage our staff, our membership, allied professionals, public officials and the general public,” said Mark A. Focht, the immediate past president of ASLA, in a statement. ASLA's board of trustees unanimously approved the plan in November and funding is already a third of the way there. Construction is slated to start this fall.
After hosting the Olympic Games in 1932 and 1984, Los Angeles is in the hunt to be the Unites States' candidate to host them again in 2024. Earlier this week the city made a presentation to the U.S. Olympic Committee, followed by pitches from Boston, San Francisco and Washington, D.C. According to Inside The Games, a website dedicated to Olympic news, LA's proposal would be heavy on existing facilities, cutting down on costs so much that Mayor Eric Garcetti called it the "most affordable" of any U.S. proposal. The games would once again focus on the LA Memorial Coliseum (which would be substantially renovated), and surrounding Exposition Park, both just south of USC. Other significant venues would include Staples Center, the Nokia Theater, Griffith Observatory, the Queen Mary, and even Walt Disney Concert Hall. According to Inside The Games, the bid shows off LA's ongoing transit expansion, with officials claiming that 80 per cent of spectators will be connected to venues by public transport. San Francisco proposed a $4.5 billion, privately financed plan that would also focus on existing, or already-planned facilities. According to the SF Chronicle they would include newly-completed Levi's Stadium in Santa Clara, several waterfront piers, and the Golden State Warriors' upcoming arena in Mission Bay. A temporary stadium for the opening and closing ceremonies in Brisbane, south of San Francisco, would be removed after the games, and the Olympic Village would be contained in 2,000 units of housing already approved as the fourth phase of development at the Hunters Point shipyard. “We’re not going to be building white elephants in our city or anyplace in our region,” San Francisco Mayor Ed Lee told the Chronicle. The USOC is expected to decide on an entry city by early next year, and the International Olympic Committee is expected to choose the 2024 host city in 2017. The U.S. has not hosted a Summer Olympics since the 1996 Games in Atlanta. The last U.S. city to host the Winter Olympics was Salt Lake City, in 2002.
The Vancouver-based New Buildings Institute (NBI) tracks energy efficient built work, and their 2014 update, “Getting to Zero”, provides a snapshot of the emerging U.S. market for net-zero buildings—those are structures that use no more energy than they can gather on site. In the United States, California leads in the number of low and zero energy projects with 58, followed by Oregon (18), Colorado (17), Washington (16), Virginia (12), Massachusetts (11), Florida (10), Pennsylvania (10), Illinois (8), North Carolina (8), and New York (8). NBI also compiled a database of all their buildings. They say architects and developers interested in pursuing net-zero design could find inspiration there, searching according to their local climate and/or building characteristics. The database includes energy-efficient and high-performance buildings that are not net-zero, as well. Though the trend has succeeded in garnering attention and excitement among many designers, true net-zero buildings remain elusive in the built environment. So far NBI has only certified 37 buildings as net-zero. That ranking is based on performance—each building underwent a review of at least 12 months of measured energy use data. If piece-meal projects aren't yet adding up to a groundswell of net-zero design, NBI is also pushing systemic change—rigorous energy efficiency standards recently adopted in Illinois took cues from the group's Core Performance Guide.
The Bjarke Ingels Group (BIG) is returning to the National Building Museum shortly after its hugely-popular, and highly-traversed maze installation in the building's Grand Hall. This January, the museum will present what is essentially a retrospective on BIG's work called HOT TO COLD: an odyssey of architectural adaptation. According to the National Building Museum, the exhibition “takes visitors from the hottest to the coldest parts of our planet and explores how BIG´s design solutions are shaped by their cultural and climatic contexts." For the exhibition, the museum will suspend 60 three-dimensional models of BIG's work and premier Iwan Baan photographs of some of BIG’s latest projects. “What's so special about HOT TO COLD is that BIG has perceived the National Building Museum more as a site for a project, rather than as a venue for an exhibition,” curator Susan Piedmont-Palladino said in a statement.
As AN reported today, the Bjarke Ingels Group (BIG) has unveiled its master plan master plan for the Smithsonian Institute's south campus in Washington D.C. The $2 billion plan would transform multiple cultural destinations with new systems and facilities, and create a dramatic new public space. While the project isn't expected to be fully implemented until 2041, you can scroll through the gallery below to get a sense of what the Smithsonian and BIG have planned. Learn more about BIG's plans over here.
Despite the fact that most state licensing boards require registered architects to pursue continuing education, not all AEC professionals take full advantage of the educational opportunities available. That’s a shame, says Mic Patterson, VP of Strategic Development for Enclos, given the value of the many workshops, seminar programs, and conferences aimed at practicing architects. The Facades+ conference series, co-sponsored by Enclos and AN, is one such offering. “The intent was to start a dialog involving the building skin that bridged the various fragmented sectors of the building industry,” said Patterson. “We’ve been very successful in doing that. Now I’m interested in taking this dialog to other locations.” Accordingly, Facades+ will launch a new initiative next month: Facades+ AM, a half-day forum debuting in Seattle on November 11. “Skin in the Game: Seattle 9-for-19” distills the best of the Facades+ 2-day conference into a four-hour event including nine 19-minute TED-talk-style presentations by the movers and shakers of building envelope design and construction. The speakers, who include Kjell Anderson, Architect and Sustainability Coordinator for LMN Architects, Perkins+Will’s Carsten Stein, Miller Hull principal Brian Court, and Brad Liljequist, Technical Director for the Living Building Challenge, are grouped into three themed sessions. “Biting the Bullitt: Facade Futures and Living Buildings” will take Seattle’s own Bullitt Center as its focus, while “Facades Futures: Drivers, Innovations, Integrations, and Renovations” will examine dominant trends in facade technology. The third session, “Bright Lights Big City: Daylight and Glare in the Urban Environment,” will explore the challenge of balancing competing concerns in designing energy-efficient skins. In addition to participating in the Q&A period following each panel, Facades+ AM attendees will have the opportunity to network with speakers and fellow audience members at a continental breakfast and mid-morning networking break. To learn more, or to register for Facades+ AM’s Seattle premiere, visit the event website.
Metal mesh bridges old and new in Davis Brody Bond renovation.For their renovation and expansion of the South African Embassy in Washington, DC, Davis Brody Bond faced an unusual aesthetic challenge. Besides updating the two historic buildings housing the embassy's offices and residence, they were tasked with building a new atrium for public welcoming, public events, and conference rooms—right in between the two older buildings. The architects turned to Cambridge Architectural, a Maryland manufacturer of wire mesh architectural systems. "Davis Brody Bond wanted to have this new building as a very contemporary element between the two limestone buildings," said Cambridge Architectural's Ann Smith. A wire mesh facade seemed a perfect solution to the problem of combining old and new, seamlessly bridging the two masonry structures, and providing crucial sun shading for the glass atrium. The designers selected Cambridge Architectural's Shade mesh, a stainless steel weave of triangular elements with an open area of 54 percent. "Shade was chosen specifically to reduce the sun coming in, and the glare, because there are conference rooms in that front area," explained Smith. "But they still wanted to maintain the views." Shade is also a flexible, almost fabric-like mesh. "The architects really wanted to see it as one continuous piece," said Smith. "Our flexible materials lend well to that. We're able to tension them without tying back to the structure as often." The mesh facade turns three times as it wraps around the top and front of the atrium, twice around the parapet, and once again above the recessed entry. To modulate the tension on the screen, Cambridge Architectural developed a custom attachment system based on their Cambridge Scroll attachment series. "We changed the original concept a number of times," said engineering manager Jim Mitchell. "One of the challenges was that when you first walk in, the mesh runs overhead. We had to put more supports in there, more of our tension brackets to keep it looking horizontal, and to keep the tension as it turned." In this case, that meant locating additional attachment areas on the building and adding steel mounts for the Cambridge Scroll hardware. Cambridge Architectural also worked with Davis Brody Bond on a custom window-washing apparatus. The mesh team mounted the screen further off the glass than was standard, to allow room for a hook-and-pulley system designed by the architects. Davis Brody Bond also modified the window design to make for easier cleaning. Inside the entry, Cambridge Architectural installed frames of rigid mesh to echo the exterior facade while allowing access to HVAC equipment. By partnering with Cambridge Architectural on the South African Embassy project, Davis Brody Bond solved two problems at once. They marked their expansion as clearly contemporary without upstaging either the older buildings or the iconic Nelson Mandela statue out front, and they also made building a south-facing glass atrium possible. "It was a perfect combination of a transparent material that could also shade, and a stainless steel material that was very modern," said brand manager Gary Compton. "When you're inside that space, it makes for a nice welcoming, open area."