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Kohn Pedersen Fox (KPF) is racking up an impressive collection of superlatives with a host of new glass towers in New York City. Of course there is Hudson Yards where a glossy KPF-designed building will become the tallest tower at the country’s largest private development site, but that is just the start of it.
UNStudio has completed a sprawling, flower-like campus for the 2014 Horticulture Exhibit in Qingdao, China. The Theme Pavilion consists of four metallic structures that stretch out over 300,000-square-feet and resemble a Chinese rose from above. And at the human scale, the metallic, undulating structures interact with their mountainous surroundings.
The work space. (Pierre Levesque via PSFK and Prodigy Network)
It is only fitting that a crowdfunded hotel slated for New York City has a crowdsourced design as well. For its new, extended-stay hotel at 17 John Street, developer Prodigy Network, along with design blog PSFK, launched the Prodigy Design Lab, which allowed designers from around the world to submit plans for the project’s interior spaces and digital services. After 70 submissions were received and 10,000 votes cast, three winners have been announced.
The Bjarke Ingels Group (BIG) has won a design competition held by Audemars Piguet, a Swiss watchmaker, and are now tasked with creating the Maison des Fondateurs museum in Le Brassus, Switzerland. The 25,800 foot Maison des Fondateurs will be located in the midst of numerous workshops and factories embedded in the history of the Swiss watchmaking company.
Denver’s Union Station, a multi-modal transit hub built by architecture firm Skidmore, Owings & Merrill, opened up last month. The ribbon cutting ceremony severed the notion that transportation hubs are drab, gray places that smell suspiciously of food products and cleaning chemicals. What does the Union Station Bus Concourse do differently? Everything, apparently. Its sweeping design acts as a converging point for local commuters, airport bound travelers, and out-of-city destinations.
A prominent corner in West Hollywood now wears an architectural halo. Tasked with designing a permanent installation for The Dylan, a new apartment building at Santa Monica Boulevard and La Brea Avenue, Ball-Nogues Studio decided to create “something that would serve as a kind of gateway to West Hollywood,” according to Benjamin Ball. “Because we were going to work on this corner, we didn’t have very much real estate. We decided to think about the corner as though it was emanating a kind of supernatural force, something suggestive of some kind of metaphysical presence emanating from this banal corner of the building. Sort of like a glory that surrounds a relic’s figure in religious iconography, without the religious icon.”
Donald Weber is a former architect turned visual media artist. His latest project, War Sand, is a series of microscopic photographs that depict pieces of shrapnel embedded in individual grains of sand along the beaches of Normandy. Each photograph—which takes over eight hours for Weber to produce—is a testimony to one of the most famous days in history, as well as to the relationship between art and science.
The tragic fire at the Glasgow School of Art, Charles Rennie Mackintosh’s masterpiece, raises anew the question: How to rebuild? In a thoughtful blog, George Cairns of Melbourne’s RMIT, who has studied the building in detail, points out that many undocumented changes were made during the building’s construction, so it will be impossible to recreate what was there. In addition, the inevitable demands of modern fire security will likely alter the original design. Rather than try to rebuild Mackintosh’s design, Cairns argues for “great architects to be invited to design a worthy intervention that will breathe new life into the school.”
Coming to New York City from Washington, D.C., this exhibition illuminates the legacy of architect and builder Rafael Guastavino. A Catalan immigrant, Guastavino created the iconic (and aptly named) Guastavino tile. By interlocking terracotta tiles and layers of mortar to build his arches, Guastavino married old-world aesthetics with modern innovation. The resulting intersection of technology and design revolutionized New York City’s landscape, and is used in over 200 historic buildings including Grand Central Terminal, Carnegie Hall, The Bronx Zoo’s Elephant House, and Ellis Island.
Brooklyn-based illustrator Paul Tuller was inspired to create a new poster-portrait series, Architecture As Crown, by his architect boyfriend. This series features illustrations of famous architect’s wearing their most famous works on their heads. Beginning as a parody of Andy Warhol‘s God Save the Queen, the project includes such figures as Peter Eisenman wearing House I as a crown. Purchase your own posters here.
In 1969, Walter Gropius designed a collection of china for Rosenthal. Named after his atelier in Cambridge, The Architects Collaborative, TAC’s elegant and curious forms are pristine in white porcelain. Embellishing Gropius’ design would naturally be heresy to some purists. To others, it would reflect his belief in the collaborative process. In their update of the tableware, called TAC Big Cities, architect Bjarke Ingels of BIG and Danish industrial design studio Kilo teamed up to create an urban motif for the collection.