Norman Foster has hoisted a slender sheet of mirror-polished stainless steel above a plaza on the edge of Marseille’s historic harbor, creating a new pavilion that reflects the activity of the bustling public space overhead. Foster + Partners’ “Vieux Port” pavilion officially opened over the weekend in the French city. The pavilion roof measures 150 feet by 72 feet, tapering at its perimeter to create the illusion of impossible thinness and is is supported by eight thin stainless steel columns inset from the pavilion’s edge.
Manhattan’s Second Avenue Subway continues construction on the island’s east side. A new construction update from the Metropolitan Transportation Authority details excavation work at what will one day be the line’s 86th Street station and the various pieces of heavy machinery that are used in the construction process. Take a look at the photos below and be sure to check out more spectacular tunneling photos from the Seven Line subway expansion and the East Side Access Tunnel for the Long Island Railroad.
Against all odds, BIG-founder Bjarke Ingels is actually building a mountain-slash-ski-slope-slash-waste-to-energy-power-plant in his hometown of Copenhagen. Announced in 2011, the project nearly stalled during the approval process, but officials in the Danish capital broke ground on the facility on Monday. Called the Amager Bakke Waste-to-Energy Plant, the structure represents Ingels’ concept of Hedonistic Sustainability, the notion that a sustainable building shouldn’t only be green, but should also be fun.
Another skyscraper is rising in Midtown Manhattan. Developers Hines and Pacolet Milliken broke ground this week on Pei Cobb Freed’s 7 Bryant Park tower (aka 1045 Avenue of the Americas) that was unveiled in 2011. The 28-story, 470,000-square-foot tower sits at the southwest corner of Bryant Park and features a distinctive hourglass-shaped cutout on its corner. “The hourglass facade detail will be a lens through which building occupants can view the park with dramatic and alluring immediacy,” architect Henry N. Cobb told AN in 2011. A 46-foot-diameter stainless steel disc will hover above the entrance. The building hopes to achieve LEED Gold status and is expected to be complete in early 2015.
Hudson Yards broke ground late last year, but the Kohn Pedersen Fox-designed tower that will one day be the headquarters of fashion-label Coach isn’t the only construction activity causing a buzz on the 26-acre site on Manhattan’s West Side. Wrapping around the south and west sides of the Hudson Yards site, construction crews are busy building out the final segment of the High Line, including sandblasting and refurbishing the steel viaduct, repainting the steel structure’s beams, girders, and columns with the High Line’s signature “Greenblack” color, and removing and storing existing railroad tracks. Landscape construction is expected to begin later this spring.
The Friends of the High Line recently stopped by the construction site with photographer Timothy Schenck to take these photos of work in progress. Be sure to take a look at James Corner Field Operations’ design for the final segment here.
Over the past week, news of one allegedly-very-old tree cut down on the University of Louisville’s campus where a wHY Architecture-designed addition to the Speed Art Museum is being built has tree experts in Louisville counting rings on a stump. Students creating a map of all 2,500 trees on the University’s campus as part of Dr. Tommy Parker’s Urban Wildlife Research Lab had estimated the tree was over 300 years old, generating an impassioned oped in the student newspaper. The Speed and local news sources looked further into the mysterious tree, using the stump and historical photos of the museum (above) to determined that the tree was really only 60 years old. Steven Bowling, Director of Marketing and Communications at the Speed Art Museum, also wrote in with this statement about the tree’s removal:
As part of the Speed Art Museum’s long planned expansion, the Speed and its architect, wHY Architecture, carefully analyzed the site and its space constraints. The goals were threefold: to protect the Museum’s 1927 historic building to accommodate the Speed’s growing audience, to link the expanded green spaces of the Museum with the University of Louisville Campus and to seamlessly integrate art and nature on the 6-acre site. During the planning phase, the Speed, together with the architects, reviewed several possibilities in consultation with landscape architects and an arborist to expand the Museum’s footprint with minimal interruption to the historic building, the surrounding area, and trees within the Museum’s footprint. In the final plan, the tree needed to be removed. Removal of the tree, which the arborist determined was 60 years old, allows the site to be re-graded and expands accessibility for all visitors to the Museum and its grounds. While both the Museum and the architects regret the removal of that tree, the new Speed Art Museum which will re-open in 2016 will provide students and visitors with expanded green space that includes an art park and public piazza, as well as the planting of more than 40 new trees.
Fifty years ago, the St. Louis waterfront was one gigantic parking lot after 40 blocks of the city’s gritty industrial quarter were cleared in the late 1930s to create a site for a new Jefferson National Expansion Memorial. It took another two decades to get anything built, but on February 12, 1963, the missing slice of St. Louis began to change as ground was broken for Eero Saarinen’s famous Gateway Arch that still defines St. Louis in one dramatic gesture.