Following the many interesting developments in Detroit these days, one gets a sense that the city’s post-industrial landscape is fertile ground for innovative design. A boutique hotel made of shipping containers seems to back up that trend.
Collision Works, as the project is called, touts the structural merits of shipping containers. “Shipping containers are considerably more durable than standard construction, can cost less, and most importantly are about 30 percent faster to build,” writes project founder Shel Kimen.
In a unanimous vote today, the New York City Planning Commission approved Jamsestown Properties’ plans for expansion at Chelsea Market with few modifications. The building was rezoned to be included in the Special West Chelsea District, thereby allowing developers to increase density after a significant contribution is made to the High Line. Much to the quite literal relief of High Line visitors, this likely means bathrooms will finally find their way to the southern section of the park.
“Venice Architecture Biennale ‘cannot get any worse’ says Wolf D. Prix,” read the headline on Dezeen’s August 30 wire post. In a press release titled “The Banal,” Prix declared that that architects participating in the biennale are “playing” while the profession is “sinking into powerlessness and irrelevance” at the hands of politicians, bureaucrats, and investors.
The broadside caused a stir in Venice during he opening and in the blogosphere but now it appears that Prix was never in Venice for the biennale in the first place and thus had not seen the exhibition he denounced. His office claims that Prix has been misunderstood and “the critique addressed the theme of the exhibition, not the show or its execution,” according to a spokesperson for the firm.
Literally in the shadow of One World Trade is a memorial for September 11 that has been overrun by tourists since the days after the disaster. Its quiet dignity has been maintained, outlasting the dozens of hawkers who sold Twin Tower replicas just a few feet away. The memorial bears but one name, “Mary Wife of James Miles,” who died on September 11, 1796.
Today’s New York Observer weighed in on the New York Post‘s claim that tourists are turning the September 11 Memorial into a glorified playground. “When the construction barriers finally come down, the lines will be gone, people will come and go as they please. They will pray and they will play, and that is how it should be,” wrote the Observer’s Matt Chaban. As the debate continues as to what constitutes appropriate behavior at the memorial, one need only walk one block east to take in two century’s worth of history on how New Yorkers memorialize.
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A 600-panel tessellation spreads sunlight underground
By now you know about the Lowline, the ambitious project to turn the 1.5 acre abandoned trolley terminal under Delancey Street in New York City into a public park. In just two weeks the project’s founders, Dan Barasch and architect James Ramsey, will unveil a preview of the remote skylight system designed to transmit sunlight into the Delancey Underground in a life-size, fully functional installation currently being built into the Essex Street Market. Ramsey designed the remote skylights with a network of fiber optic cables that channel light gathered by a solar collection dish down below ground where it’s dispersed. To make the most of the available sunlight, Ramsey enlisted the help of industrial designer Edward Jacobs, the former head of design at Confederate Motors, the high-end motorcycle company, who Ramsey describes as “a visionary and pretty much the most talented guy I’ve ever met.”
To disperse the sunlight as far as possible, Jacobs developed a tessellated canopy system made up of 600 ⅛ inch-thick hexagonal and triangular panels laser cut from clear anodized aluminum and bent in a hydraulic press. In an effort to maximize the sunlight’s reach, the tessellated curvature is so specialized that no two panels are exactly alike. To get the shape and size of each panel just right, Jacobs worked with the engineering group Arup on materials testing and light readings, noting that 3D rendering only goes so far because “the ideas of light perception amount and reflectance can be quite counter intuitive.” The panels, which are fabricated by Milgo Bufkin in Brooklyn, are labeled according to their position in the overall structure and screwed together with fold-over tabs on each side. The canopy is then attached to a four-cable truss system Jacobs developed so the entire 1,350-pound unit can be easily raised and lowered for maintenance. A few cables will also be attached to the outer edges of the canopy to eliminate any possibility of sag between the structural rib span, completing a system that Jacobs describes as “a combination of cable slings, clevises, electrical winches and safety hooks.” Read More
Studio Mode | modeLab is excited to announce a promotional offer for the upcoming NON-LINEAR LAB: Growth Systems and Digital Fabrication with Skylar Tibbits. With generous support from The Architect’s Newspaper and Fabrikator, we are giving away a Complimentary Seat to this intensive design workshop. The Lab is scheduled for September 8th/9th and will be a weekend full of programming, parametric design, and digital fabrication. Come design and make some wild prototypes with us!
Promotional Details: “Like” us and enter to win a free seat in the Lab. Winner announced Friday, August 31st at 11:59PM EST.
Lab Details: NON-LINEAR LAB is two-day workshop on Growth Systems, Parametric Detailing, and Digital Fabrication. This Lab is the next installment in our coLAB series and is the result of collaborative research undertaken by Skylar Tibbits [SJET + Previous coLAB Instructor] and Ronnie Parsons + Gil Akos [Studio Mode/modeLab]. In a fast-paced and hands-on learning environment, we will cover Fundamental Concepts of Programming and Parametric Design as well as an introduction to Laser Cutting Constraints and Best Practices. Emphasis will be placed on iterative prototyping, allowing for a thorough investigation of a series of Growth, Component, and Detailing Scripts using Python and Grasshopper while working directly with our CNC equipment.
Architecture & the Media #3: Trade Press, an Evolving Role
Thursday, September 6
Center for Architecture
536 LaGuardia Place
Traditionally, publication in a trade magazine was an effective way to reach peers and demonstrate credibility to clients. Are trade publications becoming hybrids of journalism and networking sites, two-way streets where users are more engaged with editors?
Join us at the Center for Architecture on September 6 for a panel discussion on design reporting, the third installment of Architecture & the Media, a four-part series exploring today’s media landscape co-produced by the Center for Architecture, AIANY’s Oculus and Marketing & PR Committees, and The Architect’s Newspaper.
For Trade Press: An Evolving role, moderator and AN executive editor Alan Brake will be joined by editors Katie Weeks of Eco-Structure magazine, Linda Barr of Real Estate Weekly, Stacy Shoemaker Rauen of Hospitality Design magazine, and Diana Moser of Multi-Housing News.
Tickets: $10 for members and students, $20 for non-members.
PURCHASE TICKETS HERE
It’s been a hot and highly stimulating few days at the Venice Biennale. David Chipperfield’s theme, “Common Ground,” which sought to establish connections across architecture culture, has proven surprising divisive. Some loved the elegant progression of projects in the Arsenale, which included everything from expressionist displays by Zaha Hadid, to neo-postmodern confections by FAT, to a hand built house by Anupama Kundoo, all of which managed to mingle thanks to Chipperfield’s tasteful curation.
Some formalists griped that the show was regressive, while more socially engaged architects thought it too estheticizing. Still, every Biennale must crown its winners. This year’s Golden Lion for the international exhibition went to Torre David/Gran Horizante by Urban-Think Tank (Alfredo Brillembourg and Herbert Klumpner) and Justin McGuirk, an investigation, featuring photography by Iwan Baan, of an informal community built in an abandoned, unfinished skyscraper in Caracas. The team created an bar inside the Arsenale which featured food, music, drinks, and neon lights to showcase their work and transform the atmosphere of the overall exhibition.
Perhaps trying to regain its mojo after a difficult summer on the stock market, Facebook has selected Frank Gehry to design an expansion to its Menlo Park Campus in California. The project, scheduled to break ground next year, will include a quirky 420,000-square-foot warehouse topped by a sprawling garden. The cavernous space will contain open offices for as many as 2,800 software engineers, according to Everett Katigbak, Facebook’s environmental design manager. The firm wouldn’t reveal the project’s price tag.
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A 100 percent PET plastic garden grows in London
If you were fortunate enough to visit the London Olympics this summer and happened to walk through Victoria Park or the main quad at University College London (UCL) on your way to the games, then you experienced BLOOM, a big, bright, architectural garden created by complete strangers who gathered over the course of the two weeks to piece together 60,000 plastic game pieces, all dyed official Olympic hot pink. Designed by Alisa Andrasek and Jose Sanchez, two architecture professors from UCL’s Bartlett School of Architecture, BLOOM was selected by the Greater London Authority for a series of events and installations mounted in two locations during the games with a third location in Trafalgar Square to follow for the upcoming Paralympics.
Andrasek and Sanchez had been developing the idea for an open-ended, crowdsourced game that would encourage interaction between people in a large public space when the opportunity to be involved with the Olympics arose. The timing was perfect. Here was a moment in the city’s history when locals and tourists alike would be in the same location to celebrate athletics, and Andrasek and Sanchez hoped to capitalize on that spirit of camaraderie. The game starts with the pink game pieces, called cells. Each 16 inch-long cell is made of 100% PET plastic and has three points of entry, or notches used to connect the pieces together. Once Andrasek and Sanchez created a design for the cells, they were injection molded at Atomplast, a Chilean plastics fabricator that Andrasek and Sanchez had worked with previously. The cells are flexible, durable and can be bent and twisted into different configurations without warping or breaking. There were also several structural steel components on hand for using with the cells to build benches, tables, forts and other larger formations. Read More