On December 5, Woods Bagot unveiled its winning design for South Australia’s Adelaide Central Market Arcade. As one of the world’s largest and most visited covered fresh produce markets with 8.5 million annual visitors, the firm's $400 million plan will integrate a mixed-use program seamlessly within the existing site while leaving the market itself unchanged. “As part of a broader vision to attract the best and brightest people, the city intends to transform the market precinct into one of Australia’s most recognized lifestyle destinations,” wrote Woods Bagot associate principal and lead designer Alex Hall in a recent press release. The redevelopment will introduce additional retail, food and beverage, rooftop gardens, education spaces, a hotel, offices, and apartments to the precinct while leaving the historic central market untouched. Owned by the city of Adelaide for two years, the shopping center adjacent to the market was handed over to ICD Property, who will be working alongside Woods Bagot on transforming the center into a 35-story tower with a central public hall and rooftop, and undulating, vegetated balconies. Other collaborators on the redevelopment include joint venture partner Nanshan Group and Australian real estate company Sinclair Brook. “The Adelaide market dates back to 1869 (coincidentally when Woods Bagot was also founded in the area), when a group of local gardeners sold their wares without any structure other than gas lights and a fence,” Hall explained. “A century and a half on, we’re looking to sensitively create a space that can carry that local entrepreneurial spirit forward.” The design sensitivity shines through the firm’s plans to reinstate some of the original brickwork and arches of the market dating from before the demolition of one of the facades in the 1960s. Hall expressed that these elements were “always emblematic of the market” and “part of the whole experience.” ICD Property's managing director Matthew Khoo said that “The Adelaide Central Market Arcade has been a prominent community space for 150 years. What we intend to do is enhance the existing structure by restoring and protecting heritage items and building complementary new assets that will become new amenities for the community to enjoy.” Construction is slated to break ground in 2021.
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As SHoP Architects and the Howard Hughes Corporation continue to put the finishing touches on Pier 17, AN took a behind-the-scenes look at the Manhattan seaport’s reinterpretation of the big-box mall and the massive rooftop gathering space above. The 300,000-square-foot mall and public space has been under construction since 2013 and has undergone several design tweaks since its original presentation before the Landmarks Preservation Commission (LPC). The proposed glass pergola on the roof has been cut, as has the lawn shown in earlier renderings. The roof is now covered in pavers and designed for flexibility; the planters are modular and can be moved to accommodate larger crowds, and a freight elevator allows food trucks onto the roof directly from the adjacent FDR parkway. According to Howard Hughes, the roof can accommodate up to 3,400 (standing) guests. SHoP took suggestions from the LPC and surrounding community into account when linking Pier 17 with the surrounding waterfront and in their decision to wrap the East River Esplanade around the building. The Esplanade extends into the interior of the first floor, as the building’s base is wrapped in double-height glass doors that can be fully raised if weather permits. The restaurant and retail sections have been reimagined as two-story 'buildings', separate from but still attached to the main structure and aligned on a grid that preserves views of the Brooklyn Bridge and surrounding skyline. SHoP has clad each building-within-a-building in materials that correspond to the area’s nautical heritage, including sustainably harvested tropical hardwood, corrugated zinc sheets, and overlapping zinc tiles. Howard Hughes has already locked down several big-name anchor tenants for Pier 17, including a two-floor restaurant from David Chang and upper-floor office space and a green room for ESPN. Outside, SHoP has collaborated with James Corner Field Operations for the landscaping and furniture, and global firm Woods Bagot has designed the Heineken pavilions. Visitors looking to soak in views of Brooklyn will also find a bar and lounge on the eastern side of the building in the shadows of artist Geronimo’s massive multicolored balloon sculpture. Her creative process is documented in the video below: The top half of Pier 17 has been clad in vertical panes of foggy green-gray channel glass, which rises and falls as it wraps around, in reference to the passing East River below. Some of the crazier renderings have shown the building’s upper floors lit up in technicolor at night, and internet-connected color-changing lights have been embedded in the facade. The public can experience Pier 17’s rooftop when it opens to the public on July 28, complete with an accompanying concert series.
Only three weeks after a star-studded shortlist of architects for the Adelaide Contemporary International Design Competition was revealed, arts organization Arts South Australia and competition organizers Malcolm Reading Consultants have chosen the Diller Scofidio + Renfro (DS+R) and Woods Bagot team. The winning plan for the new art gallery and accompanying sculpture park will create a new cultural anchor for the state of South Australia. In their winning scheme, DS+R and Australian firm Woods Bagot have envisioned a dramatically inclined art space for Adelaide’s North Terrace. The arts center will rise on the site of the former Royal Adelaide Hospital, and in the brief, teams were asked to design dynamic, but people-friendly, spaces. The team has designed what they call a “charismatic soft beacon” meant to reflect the sky during the day, and glow from the gallery spaces at night, creating an open and inviting atmosphere. The Adelaide Contemporary will include a sunken performance lab with multiple tiers, a “Super Lobby”, floating top-floor galleries, and a rooftop garden that will hang down into the upper levels’ gallery space. The entire building is a mixture of purpose-driven spaces with unique massings and heights, with programming inherently baked into each room’s layout, but its most unique feature is how most of the building will cantilever over the outdoor gallery spaces and public square. By virtue of the competition guidelines, all of the submitted proposals drew from vernacular Aboriginal art and culture, as well as the history and traditions of Adelaide. “The design foregrounds South Australia’s exceptional collections and capitalises on the momentum of the Art Gallery of South Australia’s recent successes in celebrating Aboriginal and Torres Strait Islander art and culture,” said Michael Lynch, chair of the jury and the Art Gallery of South Australia Board’s Special Advisor. “The jury was impressed by the winning team’s assured understanding of the future of art, performance and 21st-century programming, as well as its flair for placemaking.” DS+R and Woods Bagot beat out 107 teams from around the world (from over 500 individual firms), including proposals from studios like David Chipperfield, BIG, Adjaye Associates, and SO-IL. A full list of the received proposals, and views of their submissions, can be viewed here. The full biographies for all nine jury members can be viewed here. No cost estimate or completion date for the project has been released at the time of writing.
On May 11, Arts South Australia’s design jury revealed the design proposals from the six shortlisted teams selected in the Adelaide Contemporary International Design Competition, a planned art gallery and sculpture park in Adelaide, Australia. The 160,000 square-foot Adelaide Contemporary will house a significant portion of the Art Gallery of South Australia’s 42,000 piece collection, which currently only has a fraction on display due to a lack of space. The museum will draw upon its substantial Aboriginal collection to create the Gallery of Time, which will combine indigenous pieces with European and Asian works. This shortlist's designs follow. Adjaye Associates & BVN’s design draws upon Aboriginal vernacular architecture through the use of a surrounding canopy, providing shade in one of the more arid corners of the country. With the canopy screening significant portions of the four elevations, the design will largely use skylights and balconies to filter natural light into the central atrium and stairwell. With a twisting, serpentine layout, Bjarke Ingels Group (BIG) & JPE’s proposal is inspired by Aboriginal sand painting, which often embeds abstract natural elements within a landscape. Through the use of rooftop landscaping, the team hopes to integrate their design with the adjacent Botanic Garden. David Chipperfield and SJB Architects’ is the only timber structure proposal. The principal elevations are composed of wooden screens, and the structure is topped by sloped roofs. In a statement, Diller Scofidio+Renfro & Woods Bagot describe their proposal as a “matrix of unique spaces unbound by disciplinary categories range in size, height, infrastructure, and light quality.” The bulk of exhibition space is located on the second story, which is cantilevered over an outdoor gallery and public square. Hassell & SO-IL incorporate a central plaza into their design proposal, which the team describes as an attempt to bring “nature, art, and people together.” The central plaza serves as a circulation node and public square connecting the gallery’s semi-independent spaces, which are further laced together by a draped, metal brise-soleil. Khai Liew, Ryue Nishizawa & Durbach Block Jaggers proposal consists of a sweeping, perforated canopy supported by a series of pilotis. Beneath the canopy, the site is split roughly evenly between park and curatorial space, the latter presenting sweeping views of the adjacent Botanic Garden. Arts South Australia’s design jury will meet again in May, with a winner expected to be announced in June.
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Bjarke Ingels Group’s twin rotating towers are under construction along the High Line in Manhattan’s Chelsea neighborhood. The Eleventh (also known as the XI) will include luxury residences, multiple restaurants, retail, an art area and a new public promenade adjacent to The High Line. The project joins nearby buildings by Frank Gehry, Jean Nouvel, and Renzo Piano, among others.
The two towers, one each on the east (No. X) and west (No. I) portion of the site, will rise to 300 feet and 400 feet, respectively. Each are clad in a travertine composite facade expressive of the underlying concrete structure behind it, with expansive punched windows with a bronze finish. “With its punched windows and gridded structural facade, The Eleventh echoes the pragmatic rationality of the neighborhood’s historic warehouses, while its sculptural geometry gives it a kinship to the local arts community,” Bjarke Ingels, founding partner of BIG, said in a statement. “The past and present of Chelsea [are] merging in a new hybrid identity.” The choice of materials helps the pair stand out among the surrounding concrete and steel structures. The facade combines high-performance composite technology with the durable travertine to reduce the dead load on the structure. The panels are composed of a thin layer of travertine with an aluminum honeycomb core which provided a lightweight solution and an easier fabrication and installation as an alternative to hand-cut travertine. The design contains multiple ruled surfaces which resulted in challenges in the process of detailing the facade system. The travertine is flat, rigid material and, as such, the facade required the ruled surfaces to be panelized with a roughly four-by-eight-foot grid. This arrangement resulted in a number of unique panel shapes and sizes. To follow the geometry, the panels are offset to one another and scaled. Since the travertine is one inch thick, the scaled panels require a travertine return to avoid any open gaps. During the design process, BIG and the facade consultants were forced to evaluate the travertine panel variation versus the window module size variation and, for various reasons, the window modules became the organizational device for the facade. Sitting within the geometry of the building is a series of unitized curtain wall windows that punch through the facade. While designing these apertures, BIG, alongside architect of record Woods Bagot and building envelope consultant GMS, looked at a unitized system which would be suspended in front of the floor slabs but, due to the complexity of the structure, the curtain wall will span between each slab. The unitized system is a structurally glazed, aluminum and glass curtain wall system with a bronze finish. As the renderings of the project show, the unitized system is met with an aluminum metal composite panel enclosure with the same bronze finish as the curtain wall. Due to the complexity of the facade, all elements were custom engineered and fabricated.
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Nestled into a small inner-city suburb of Sydney sits a new business school facility for the University of Sydney. The building, designed by Woods Bagot across three of their fifteen global offices, consolidates facilities that were once scattered across nine buildings on campus while supporting a student body of over 6,000 students. The massing of the building weaves into the context of the neighborhood, unified by a terra-cotta cladding system with carefully selected coloration that help to blend in with surrounding Victorian-era worker’s terraces. The building envelope of the University of Sydney's Abercrombie Business School is composed of three components: an all-glass undulating base level, a window wall enclosing classrooms and offices, and an exterior screen assembly composed of terra-cotta baguettes. Matt Stephenson, senior associate at Woods Bagot, said a primary focus of the design team was developing a project that was contextually sensitive. “With the enclosure, the challenge was to maintain a singular identity and dynamic expression for the overall academic building.” The team conducted color theory research, arriving at a scheme that balances “background” coloration of insulated metal panels on the building envelope with “foreground” terra cotta screen colors. A color palette of unglazed and white glazed terra cotta was selected which allows the two facade layers to visually merge, creating a texture inspired by sandstone local to the area. The terra-cotta screen is composed of repetitive baguettes, dynamically arranged in response to program and solar orientation. The architects “unfolded” each elevation, designing orthogonally by setting up a series of operations that began with a uniform screen density. They overlaid a solar analysis and a programmatic analysis of the base building skin that differentiated between room type and activity level. This zoning of the elevation helped inform where baguettes could be eliminated within each facade. In active zones, the architects deleted over 35 percent of the baguettes to allow light and air into the active program spaces. Additional baguettes were culled in response to eye-height views, localized areas of seating, and areas of the facade that were obstructed by adjacent buildings. The last step was to rotate the baguettes on elevations that received the most severe sunlight in order to increase their ability to act as a sunshade while maintaining visual porosity. The result was a dynamic system assembled from standard componentry.The project evolved between Woods Bagot’s Sydney office, located 30 minutes from the site, and their New York and San Francisco offices. The project teams would share design models on a daily basis, which, thanks to time zone differences, allowed for nearly continuous project development. Stephenson said firm benefits from expertise in multiple offices around the world, and that in the years since the early design phases of USBS, cloud-based model sharing has significantly improved, enabling for more streamlined workflows.
After an initial approval in 2011 and years of delays, the SOM-master planned redevelopment of San Francisco’s Parkmerced neighborhood is finally set to break ground early this year. The 152-acre project is expected to bring 5,679 new residential units to San Francisco once it’s fully completed, a welcome respite for a city that’s in the midst of a housing crisis. According to the San Francisco Business Times, developer Parkmerced Investors LLC is expecting break ground on the first phase of the project, which includes 1,000 residential units across three buildings, in the first half of 2018. Part redevelopment and part addition, the Parkmerced project will ultimately add 230,000 square feet of retail space, 80,000 square feet of offices, and 60,000 square feet of parks to the neighborhood, according to the master plan. Although site permits for the first phase of construction were approved by the city in December, they have yet to be approved. Still, Parkmerced Investors is hopeful and has already begun spooling up to begin work. If everything goes as planned, the three new buildings should all be complete by 2022, although what percentage of these units will be affordable has yet to be finalized. This first phase of work will encompass a 17-story residential building with 299 units at 1208 Junipero Serra Boulevard, designed by DLR Group | Kwan Henmi, at an estimated $131 million. Additionally, international firm Woods Bagot is designing two 11-story buildings with a combined 248 units, one at 850 Gonzalez Drive and the other at 455 Serrano Drive, for $91.5 million, while 300 Arballo Drive, an eight-story, 89 unit building designed by San Francisco’s LMS Architects, will rise at the same time. The San Francisco Business Times notes that 21 and 25 Chumasero Drive will also be designed by SOM, although the timetable for any future buildings is currently uncertain. Once completed, the 11-million-square foot development could cost up to $1.35 billion. Parkmerced has long been viewed as an outlier community in San Francisco, as some former residents will fondly recall. Built as a planned community in the early 1940’s in part to house returning WWII service members, the neighborhood is part city-inside-a-city and part suburb, as the planning emphasizes single-family houses and car culture. While the area’s original developer, Metropolitan Life (MetLife), restricted home ownership in Parkmerced to whites-only until a lawsuit in 1972, the extension project has been envision as a holistic “eco-village” according to SOM. A sustainable vision plan was used to create the master plan, and prominently features open green spaces and storm water management systems. The vision plan is viewable here.
One Journal Square, a mixed-use development designed by global architecture firm Woods Bagot, has been put under the microscope as the project’s developer, Kushner Companies, seeks funding through the controversial EB-5 investor visa program. The Jersey City development has been hit with turmoil recently, with its main tenant, WeWork, backing out and taking several million dollars of tax breaks with them, as well as potentially losing a major chunk of cash ($30.4 million in city bonds, to be precise) and a 30-year tax abatement to boot, according to Bloomberg News. Kushner Companies, like many developers, has turned to Chinese investors to garner funds, specifically $150 million of the $1 billion budget, utilizing the EB-5 investor visa program. The EB-5 program, more formally known as the EB-5 Immigrant Investor Visa Program, was created by the Immigration Act of 1990 as a way to spur investment into rural communities and communities struggling with high unemployment rates. The gist is that a foreign investor can invest a minimum of $500,000 to $1 million in a business that will employ at least ten American workers, and, in exchange, they will receive a U.S. visa, which can turn into permanent residency for the investor and their family. The program was developed to spur growth in downtrodden communities, however, the program has become a loophole for developers to fund luxury projects, claiming nearby neighborhoods struggling with unemployment in order to qualify their luxury developments for the program. Then all they have to do is sell visas to wealthy foreigners in exchange for ‘cheap money.’ The number of visas issued through the EB-5 program has increased dramatically in recent years, from a meager 64 visas in 2003 to nearly 9,000 visas issued in 2015, according to The New York Times. Of those 9,000, approximately 80 percent were to Chinese investors, according to The Washington Post. Despite the increase in growth, a report by the Government Accountability Office in 2015 suggests the program is at high risk for fraud and has no reliable means of verifying sources of funds (like that one time invested funds were linked to several Chinese brothels). Although the EB-5 program itself is no stranger to scandals (for example, a member of Iranian intelligence utilized the program to obtain a visa), there is no doubt that much of this particular scandal comes from the company in question’s ties to a particular senior adviser to the White House (that would be Jared Kushner, husband to Ivanka Trump and former chief executive of Kushner Companies). Only one day before Kushner’s sister spoke to investors in Beijing about One Journal Square, saying the project “means a lot to me and my entire family,” President Trump signed an extension to the EB-5 program as part of his Omnibus bill, raising many eyebrows. Although there is no evidence that Kushner or his sister have done anything illegal or in direct violation of any ethics codes, the controversy surrounding One Journal Square has drawn a lot of attention to the conflict-of-interest concerns floating around President Trump’s White House, as well as the ongoing debate about the future of the EB-5 program and what that means for luxury developers. Despite the scandal and struggle to find funds, however, One Journal Square is still set to begin construction early next year. Stay tuned.
If all goes according to plan, Mesa, Arizona is going to have one heck of a public plaza in the center of its downtown. The city just unveiled schemes from three teams, selected from a recent RFQ (PDF), to design the space, located on an area currently occupied mostly by local government buildings and surface parking lots. According to the city, the site, meant to accommodate up to 25,000 people, would host annual events like the Mesa Arts Festival, Arizona Celebration of Freedom, and the Great Arizona Bicycle Festival. The three finalists are Colwell Shelor + West 8 + Weddle Gilmore; Otak - Mayer/Reed; and Woods Bagot - Surface Design. The Coldwell Shelor + West 8 + Weddle Gilmore team presented a "Town Square With a Twist," keeping the area cool through, among other things, trees, water features, and a giant copper shade structure. Varied upper and lower terraces would be connected by a "leisure promenade," designed for walking and running. Otak-Mayer/ Reed centers on a "Living Room Plaza," an open design lined with hardscape and punctuated by shade structures, lawns, trees, and a reflecting pool. Other elements of the plan—meant to connect seamlessly with surrounding streets—include more intimate courtyards and a grand arrival portal, sculpture park, pond, and pedestrian breezeways. The Woods Bagot - Surface Design team proposed "Mesa Central," an undulating landscape, inspired by the area's natural topography, featuring a diverse mix of gardens, performance spaces, plazas, play areas, and places for escape. Major components of the scheme, which are similar in form and function to natural elements, include a wash, bluffs, foothills, mesa, canal, and orchards, all connected by a central indoor space containing community activities known as the Hangar. Preliminary designs are being funded by a $70 million park bond measure. According to the city, the winning team will be chosen by November 18. Videos of the finalists' schemes can be found here. More images of the schemes can be seen below.
Rome is home to what is likely the most iconic example of sport architecture on the planet. The Colosseum is a distant precedent for the design of most stadiums, but Woods Bagot has chosen to make the connection explicit in their new project for local soccer club AS Roma. The international firm has unveiled their vision for a new, more centrally located venue set to open at the start of the 2016–2017 season. Stadio Della Roma is a 52,500 seat stadium designed explicitly with the concept of home-field (pitch if you're in Europe) advantage in mind. The building features a tightly wrapped seating bowl and a steeply-pitched, explicitly-delineated Curva Sud section for the club's "ultras" or most ravenous supporters. Ancestral inspirations manifest themselves in the form of a circular opening and a floating stone screen that envelops the structure and rewrites the curves of the arches of the Colosseum in a sharper, more angular vocabulary. The scheme also calls for a large hydraulic elevator system that consciously or unconsciously nods to another Ancient Roman contribution to sporting venues. The new stadium's lift will be used for bringing players to the surface rather than ferocious exotic animals. High-tech training facilities, a Nikestore and a Roma Hall of Fame will be other new amenities housed on the grounds. Dan Meis, a familiar figure in American arena architecture, will be leading the undertaking.
After several false-starts, plans to re-open the landmark building as a hotel appear to be underway. Jeffrey Holmes of Australian Architecture firm Woods Bagot is the latest figure attached to the project. Developers David Bistricer and Joseph Chetrit of the Chetrit Group purchased the Brooklyn property for $81 million from Watchtower Society in November 2012 but progress subsequently stalled. Selldorf Architects and Gene Kaufman have both at times been tipped to lead the rennovation, but neither is currently affiliated with the project. While initial prospects looked grim, the city has recently approved plans to change the building's certificate of occupancy, allowing for construction to begin with an eye towards a summer re-opening, a year later than expected.
Big-time sports architect Dan Meis, who has designed, among other projects, LA's Staples Center and Seattle's Safeco Field, is on the move yet again. In the span of just a few years he has shuffled from his own practice to Aedas, then back to his own firm to Populous, to his own firm again, and now he is joining Australian firm Woods Bagot Sport to become its global director. Exciting opportunties? Commitment issues? "I'm not crazy about having been with a couple of different firms in a short time period," admitted Meis. But he sees it differently: "For me it feels like I’ve been in the same practice all along. It just feels like I've been associated with a lot of firms." So why Woods Bagot? Not only has the firm made a strong commitment to sports (an issue he had at Aedas when the economy took a hit), but Meis won't have to compete internally to work on major projects (a problem he ran into at Populous). The final straw at Populous came when the firm took on plans for a new LA Convention Center by AEG, putting him into direct conflict with one of his existing projects, a football stadium for LA's City of Industry. (AEG is proposing a competing stadium in Downtown LA.) Meanwhile Meis will get to continue working on a number of his recent projects, including the City of Industry football stadium, a soccer arena in Rome, and an arena for the upcoming 2022 World Cup in Qatar.