Eight up-and-coming architecture firms from across North America have been distinguished as Emerging Voices by the Architectural League. The prestigious award is bestowed annually on a group of firms that have established a distinct design voice in their work and have “the potential to influence the disciplines of architecture, landscape design, and urbanism.” This year’s winners are INABA, 5468796 architecture, SCAPE Landscape Architecture, Studio NMinusOne, Oyler Wu Collaborative, SsD, Arquitectura 911sc, and Atelier TAG. A jury comprised of Henry Cobb, Geoff Manaugh, Paul Lewis, Jamie Maslyn Larson, Annabelle Selldorf, Claire Weisz, and Dan Wood selected the firms based on a review of their portfolios. Past Emerging Voices have included many of today’s top-name architects including Morphosis, Enrique Norten, Deborah Berke, Michael Maltzan, SHoP Architects, Jeanne Gang, and Steven Holl.
Each year, the winning firms present their work at a lecture series presented by the League in New York. Beginning on March 2, will take place at the Rose Auditorium in the new Morphosis-designed building at The Cooper Union. Also watch for an upcoming issue of The Architect’s Newspaper where we feature a profile of each Emerging Voices winner.
SOM Chicago has won a competition to design a mixed-use tower in the new Chinese city of Suzhou. Located along a lake front, the tower includes a distinctive void carved out the upper portion of the tower, splitting the floorplates in half to better serve hotel uses. Offices will fill the lower, larger floorplates. “We’ve been doing these kinds of mixed-use towers since Hancock,” said Ross Wimer, a partner at SOM Chicago. “Instead of tapering the tower, we’ve carved away a slot to bring fresh air and light into the building.”
Just a stone’s throw from the British Museum, Renzo Piano‘s Central Saint Giles complex seems to have been overshadowed by the excitement around his Shard of Glass rising in the Southwark section of London. But as the Shard pierces the skyline, the year old St. Giles has begun to find its own footing. Last month, the 500,000 square foot complex brought a bit of bossa nova to this West End outpost. Cabana, a restaurant designed by Alex Michaelis of Michaelis Boyd, plays well with Piano’s citrus colored facades and brings a dash Brazilian spice to the quiet courtyard.
Are you on KPF’s holiday mailing list? If so, think twice before you toss their annual card into the recycling bin. You’re now the owner of a limited edition print by an artist who is represented by one of London’s poshest galleries, the Belgravia, and whose work was featured this fall in a one-man show in Hong Kong. The signature is in the bottom right corner: Kohn ’11.
It’s no mystery that Bjarke Ingels is a fan of mountains, but building craggy edifices hasn’t been enough for the Danish leader of BIG. Now Bjarke has unveiled his firm’s latest plans to incorporate “rooftop-skiing.” He previously proposed the Hafjell Mountain Hotel in Norway in 2007 and more recently an imperiled Waste-to-Energy Plant in Denmark that appears to have stalled. The Danish firm’s latest competition-winner is a 500,000-square-foot resort called Koutalaki Ski Village in the Lapland region of Finland, consisting of four landscaped buildings that double as ski slopes.
The Museum of Modern Art has confirmed that the Portuguese architect, curator, and writer Pedro Gadanho will join MoMA’s Department of Architecture and Design as a curator of contemporary architecture.
According to MoMA’s release: “In his new role, Mr. Gadanho will be responsible for a broad portfolio that reinforces the Museum’s commitment, since 1932, to contemporary architecture. In addition to building the Museum’s holdings of contemporary architecture, he will oversee the annual Young Architects Program (YAP), co-organized with MoMA PS1, and the two-year-old YAP International Program in conjunction with the MAXXI in Rome and Constructo in Santiago, Chile; organize further exhibitions in the Museum’s “Issues in Contemporary Architecture” series; and develop larger scale exhibitions of contemporary architecture, including exhibitions that explore relationships between architecture and other contemporary art practices.”
This surreal construct is one of the many public art projects by South Korean artist Choi Jeong-Hwa, whose love of found objects and anti-institutional approach to art is known internationally (he once hung strings of sparkling garbage around Seoul Olympic Stadium). The 10-story tall installation called Doors is comprised of 1,000 reused, brightly colored doors transformed into a rustic and visually indulgent object evoking a pixelated and painterly effect from afar, perhaps reminiscent of an abstract Klimt painting. Alternatively, the installation can also be read less glamorously as a mirror to Seoul’s increasingly ad-dominated cityscape where Doors resembles a jarring collection of ads to the point of irony. (Via Colossal.)
Guy Horton, a frequent contributor to AN, here adds his thoughts on the still-steaming controversy over MVRDV’s twin towers.
MVRDV’s design for what they call The Cloud, a twin high-rise with a connecting “cloud” above the waistline, has resulted in an blitz of negative criticism. Americans who have never heard of the Dutch firm are now phoning and emailing threats and condemnation non-stop—some are personal threats aimed at individuals. They have even been called “Al Qaeda lovers.”
Singapore’s largest private property developer, the Far East Organisation, is the latest client of the Amsterdam-based architect UNStudio. The project in question is The Scotts Tower, a high-end residential building with the ambition to achieve “vertical city planning”–a concept perhaps inevitable in evermore crowded Asian cities. According to Ben van Berkel, UNStudio principal, the project is to “create neighborhoods in the sky; a vertical city where each zone has its own distinct identity.”
It must have been a rough day at MVRDV’s Rotterdam offices after their newly unveiled Cloud tower set to be built in Seoul, South Korea went viral in a bad way. MVRDV envisioned two towers shrouded in pixelated mist, but others saw the image of a plane hitting the World Trade Center in New York, half a world away. MVRDV released the following statement on their Facebook page along with an early conceptual drawing showing the inspiration for the tower, in a much more literal cloud:
A real media storm has started and we receive threatening emails and calls of angry people calling us Al Qaeda lovers or worse.
MVRDV regrets deeply any connotations The Cloud projects evokes regarding 9/11, it was not our intention.
The Cloud was designed based on parameters such as sunlight, outside spaces, living quality for inhabitants and the city. It is one of many projects in which MVRDV experiments with a raised city level to reinvent the often solitary typology of the skyscraper. It was not our intention to create an image resembling the attacks nor did we see the resemblance during the design process. We sincerely apologize to anyone whose feelings we have hurt, the design was not meant to provoke this.
Check out all of the renderings over here. What do you think? Is this too reminiscent of the Twin Towers? Do you see a cloud or an explosion frozen in time?