The house that Vans built is 30,000 square feet, cavernous, and deep underneath London. The iconic shoe and clothes retailer recently transformed the Old Vic Tunnels beneath Waterloo Station into “The House of Vans”—a multi-level, subterranean cultural venue complete with galleries, artist studios, a café, two bars, an 85-person music venue, a 160-person cinema, and, of course, a skate park.
USC School of Architecture has announced that Hadrian Predock will serve as its next director of undergraduate programs. Starting this fall he will take over the position from Alice Kimm, who served for four years. “I’m thrilled,” said Predock. “This is an exciting time as architecture continues to pull out of the recession, and I’m looking forward to helping position the school in larger conversations about where the profession is going.”
While architects often dream of floating houses and cities of the future, a new floating technology is promising to clean up our waterways. The winner of the 2014 Disrupt-O-Meter award is Puralytics, for the innovative technology that’s at the root of the LilyPad, a floating, portable water purification device that works without chemicals, consumables, or power.
The vision42design competition to rethink and redesign the entire length of New York City’s 42nd Street was launched last April by AN and The Institute for Rational Urban Mobility. Entrants in the competition have the opportunity to not only rethink this important street but transform Manhattan at its core and become a model for major urban thoroughfares worldwide.
The International Union of Architects (UIA) has made a major commitment to do its part in the fight against climate change. At its recent World Congress in Durban, South Africa, the Union—which represents 1.3 million architects from 124 countries—universally pledged to eliminate carbon emissions from the built environment by 2050. The “2050 Imperative” was created by the non-profit Architecture 2030 and approved by the UIA on August 8th.
We’ve been following Los Angeles’ several proposed Freeway Cap Parks (in Downtown LA, Hollywood, and Santa Monica among other places) for years now, with a healthy amount of skepticism. But the first of these is (really? really!) moving toward reality. Friends of the Hollywood Central Park, a non-profit organizing a cap park over the 101 Freeway near the center of Hollywood, along with LA’s Department of Recreation and Parks have begun the environmental review process for the transformative 38-acre space.
Thomas Gluck, of GLUCK+, has built himself one heck of a vacation home in upstate New York. The glassy residence, known as the Tower House, is separated into two main volumes: a transparent, three-story vertical column that is defined by a bright, yellow stairwell, and a horizontal living space that cantilevers 30 feet above the ground. The firm described the project as “a stairway to the treetops.”
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Folded aluminum panels deliver the illusion of movement to passersby.
During their recent expansion, Eskenazi Hospital in Indianapolis approached Urbana Studio with an unusual request. The hospital wanted the Los Angeles-based art and architecture firm to design an interactive facade for a recently completed parking structure. “With Indianapolis’ really extreme weather patterns, we gave a lot of thought to: how can we make something that’s interactive but won’t be broken in a year?” said Urbana principal Rob Ley. “Unfortunately, the history of kinetic facades teaches us that that they can become a maintenance nightmare.” Urbana’s solution was to turn the relationship between movement and the object on its head. Though the aluminum facade, titled May September, is itself static, it appears to morph and change color as the viewer walks or drives by.
San Jose Mercury News columnist (and frequent AN contributor) Alan Hess took on HNTB’s Levi’s Stadium, the new $1.3 billion home of the San Francisco 49ers. Hess compares the “starkly utilitarian,” 68,500 seat stadium to Silicon Valley’s high tech environments, and even to its high-end gadgets. The building “translates the high-def experience of a game we see on TV—the roaring crowd, the superhuman action of the players, the intense color of the grass under the TV-studio lighting, the camaraderie of loyal 49ers fans celebrating (or commiserating) en masse—into an enormous three-dimensional architectural spectacle,” Hess wrote.