New Miami mayor Philip Levine has positioned himself as a major roadblock in the way of OMA‘s proposed Miami Beach Convention Center. South Beach ACE, a team lead by Rem Koolhaas, local developer Robert Wennett, and New York City developer Dan Tishman narrowly edged a design by Bjarke Ingles Group in a hotly contested competition held last year to re-design the campus.
Levine has now raised questions about the proposed $1 billion cost of the project and is calling for a new set of candidates offering smaller-scale and more affordable renovation options. On Wednesday, the city officially killed the project.
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A timber-backed glass facade provides transparency, acoustical isolation, and resiliency for a historic theater complex in the nation’s capital.
When the Mead Center for Performing Arts in Washington D.C. hired Vancouver-based Bing Thom Architects to double the institution’s square footage without disturbing two historic theaters designed by treasured architect Harry Weese, it was clear to firm principal Michael Heeney that standard solutions would not suffice. For one, the theater facilities were insufficient and outdated. More troublesome, however, was the fact that passenger jet liners taking off and landing at Regan National Airport across the Potomac River were so loud they were interrupting performances. The architects had to find a solution to mitigate this cacophony both for the existing structures as well as for the expansion—a new theater called Arena Stage.
“We had to achieve acoustical separation and isolation from exterior noise in a way that was respectful and maintained the integrity of the original structures,” Heeney told AN. Building off an approach that originated from a project in Surrey, British Columbia, the design team decided to wrap the triangular-shaped complex in glass with timber column supports, topped off with a 500-foot cantilevered roof. With the help of structural engineers at Fast + Epp and facade consultancy Heintges, the team extrapolated the Surrey solution to provide even greater transparency for the existing Weese theaters, Arena Stage, and a variety of mixed use spaces totaling 200,000 square feet. Read More
Pittsburgh’s new mayor took office this week, and with him comes a cabinet division dedicated to neighborhood development. The Steel City has largely scrubbed its image as an ailing post-industrial town in recent years, drawing in new artists and young professionals, but the revival has not touched all parts of the city equally.
The hidden door has long been a standby of Scooby Doo episodes and spy movies. It’s even found a place in Mitt Romney’s new Utah mansion. Now Russian designer Vlad Mishin has created a modern and practical take on the popular Hollywood gag through his Transformer Wall, a visually striking means of adding new levels of flexibility to a small apartment interior.
Daniel Libeskind has unveiled his plans for a new apartment complex in the emerging Berlin suburb of Chausseestrasse. Set for completion in 2015, the 8-story building called Chausseestrasse 43, will accommodate retail functions on street level and 73 individual apartments on the upper levels.
Diller, Scofidio + Renfro announced today that their reorganization of the Museum of Modern Art will include the replacement of Tod Williams and Billie Tsien’s former American Folk Art Museum at 45 West 53rd street. Liz Diller said in her briefing that DS+R hoped to save the Folk Art building and repurpose it into a usable exhibit space or a connecting bridge between the new Jean Nouvel tower (which will have three floors of MoMA galleries) and the older parts of MoMA. However, “saving” the structure with its misaligned floors (to MOMA existing galleries) would mean compromising the integrity of the Williams Tsien structure.
One can imagine the logic of DS+R’s decision, but Williams and Tsien are, like any architects, sad to see the demise of their 2001 building that Herbert Muschamp said “transcend(s) cultural categories even as it helps define them.”
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ikon.5 Architects designs a reflective, fritted facade in the visual tradition of the campus’ original craftsmanship.
In the wake of Hurricane Katrina, New Jersey–based ikon.5 Architects had an opportunity to reinvent the image of Lousiana State University’s E.J. Ourso College of Business. The original campus, designed in 1928 by the Olmsted Group, was planned as an Italian Renaissance village, which functioned as the economic engine of Louisiana and the Gulf of Mexico region for nearly 75 years. ikon.5 and local firm Coleman Partners Architects, used the circumstances of Katrina’s aftermath to give the business school a progressive image, while staying true to the University’s prescriptive aesthetic guidelines.
Maintaining the classical layout of the main square—head houses at either end with smaller classrooms lining an expanse of lawn—the design committee made several concessions in the 2012 update. In the past, guidelines dictated that all buildings feature the original craftsmen’s stucco formula, which was made from crushed white pebbles and seashells. But for the 21st century, LSU’s Design Committee decided that updating materiality would be a forward-thinking representation of the school’s influence and thus approved a new glass skin for the business school’s graduate and undergraduate classroom buildings. Read More
Designer Naoya Matsumoto and her peers at Seian University of Art and Design have created a unique meeting space for students on the Japanese campus. Their creation, a pop-up bar, is created from six panels of locally-sourced reeds called Yoshi. The chaotic construction resembles a traditional gabled roof structure in abstract form. Each year, students of the design school are challenged to create objects from the Yoshi reeds which grow freely around Lake Biwa, an area close to the university campus.