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Two new projects prove that concrete’s rigidity is no longer set in stone
From Peter Eisenman’s Berlin Holocaust Memorial to Paul Rudolph’s Art and Architecture building, concrete has been used with finesse in minimalist and brutalist structures and, as such, is mostly thought of as cold or aggressive. Two recent projects in Portugal and Norway are set to change our hard-edged opinion of concrete and show that it can be as fluid as a ribbon waving in the wind. Casa Xieira II, a private home in Leiria, Portugal, designed by A2 + Arquitectos, and the National Tourist Route Rv 889 Havøysund in northern Norway by Reiulf Ramstad Architects both feature winding concrete wrappers that stand out in sharp contrast to their surroundings, a factor that only becomes more important when your primary building material is as stark as concrete. Read More
Last year we showcased Oyler Wu’s SCI-Arc graduation pavilion, a swooping steel, fabric, and rope construction that floated above the event like a billowing sail. For last week’s graduation the firm added a small addition while making significant improvements. The addition, which sat school directors and special guests, became a stage for diploma presentation. Made of a torqued steel shell fitted with twisting fabric (Wu calls it a three dimensional twist), the addition is no replication: it creates a simpler, more unified complement to the original, which involves a more complex web of fabric and roping. As for the original pavilion, they replaced its (disturbingly) dirty fabric with darker material and re-oriented the whole thing toward the school itself. Next year’s pavilion will be designed by Marcelo Spina. We can’t wait.
It’s hard to believe that it’s been 10 years since the first green roof gathering in Chicago, when 400 green roof enthusiasts came together from around the world to share their passion and knowledge of green roofs. Since then, we’ve laid some very important foundations for the industry, which enjoyed an amazing 115% growth rate last year.
On October 17-20 at CitiesAlive, we will gather at the Congress Plaza Hotel in Chicago once more, to celebrate all that we have accomplished together, and lay plans for the future growth of this industry. Performance is the unifying theme for programming that features the best and brightest in green roof and wall design, research, policy. ‘On the roof with’ conversations feature examples of what green infrastructure is best at – stormwater management, urban agriculture, increasing biodiversity, energy efficiency, job creation and more. Together, we’re building a legacy of outstanding performance!
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Reimagining the chair as an architectural material
With their focus on “environmental acuity and a critical digital ethic,” Brian Bush and Yong Ju Lee of E/B Office describe themselves as “digital architects” who design “real projects that are virtually indistinguishable from their digital visions.” Their most recent vision included 300 of IKEA’s pine wood Ivar chairs arching through the air across the wide lawn at Freedom Park in Atlanta, where SEAT was installed earlier this summer for Flux Projects, a public art organization. Bush and Lee hope that SEAT will encourage people to reconsider the chair as more than just a passive, everyday object, but as an architectural structure in and of itself. Indeed, sitting amongst a swooping pavilion built entirely out of chairs, it would be difficult not to.
No doubt you’ve seen the Ivar chair before, or something like it. Popular for its low price ($24.99) and ability to be painted any color, Ivar is so basic it’s the kind of chair that should pop right up when you do a Google Image search for “chair” (it doesn’t, though IKEA’s Poang does). Because they came from IKEA, all 300 were assembled by hand by Bush, Lee and a team of 15. The chairs were unaltered except for the seat, which was removed from most to make them easier to connect. After Bush and Lee made a 3D model in Rhino with the help of a structural engineer, they launched right into building the full-scale version onsite. Read More
For the eleventh anniversary of September 11, The Architect’s Newspaper has been reviewing progress at the World Trade Center site. Last Thursday, AN visited SOM’s One World Trade to survey the view from the 103rd floor and check in on construction of the tower’s spire. Friday, a trip to the top of Fumihiko Maki’s Four World Trade on Friday showed the less-publicized view of the site. From both vantage points, the hum of activity—both from construction crews and visitors to the memorial plaza—was readily apparent.
Of particular interest were substantial developments at the Vehicle Security Center, where a new entryway on Liberty Street will send security measures beneath a new St. Nicholas Greek Orthodox Church. It was heartening to read in today’s New York Times that the conflict between Governor Cuomo and Mayor Bloomberg over the Memorial Museum, reported here last year, was resolved in time for ceremonies this morning.
For all the talk of delays, an extraordinary amount work has been accomplished. As a tribute, AN has compiled a video montage showing continued progress at the site on this historic day.
“Few people think about it or are aware of it. But there is nothing made by human beings
that does not involve a design decision somewhere.” -Bill Moggridge
Bill Moggridge, director of the Smithsonian’s Cooper-Hewitt, National Design Museum and an outspoken advocate for the value of design in everyday life, died September 8th, 2012, following a battle with cancer. He was 69. Designer of the first laptop computer and co-founder of the renowned innovation and design firm, IDEO, Bill pioneered interaction design and integrated human factors into the design of computer software and hardware.
Bill was a Royal Designer for Industry, a 2010 winner of the Prince Philip Designers Prize, and a 2009 winner of Cooper-Hewitt’s National Design Award for Lifetime Achievement. He described his career as having three phases: first, as a designer; second, as a leader of design teams and; third, as a communicator.
Compared to its neighbors, the Fuhimiko Maki-designed Four World Trade offers a more somber, reflective aesthetic at the World Trade Center site. Reflective quite literally, as the tower’s curtain wall mullions nearly disappear at street level. Inside the 977-foot-tall building, Maki’s stunningly-precise detailing is made evident, along with the breathtaking views of the surrounding New York region.
After climbing to death-defying heights yesterday at One World Trade yesterday, AN stopped by Tower Four’s construction floor 51 (or what will eventually be renamed the 60th floor when the building opens). While the interior office spaces are still shells, the clarity of Maki’s trapezoidal form shows through. Project Architect Osamu Sassa said columns at the tower’s perimeter—four on each side—were pushed to the edge, providing 80-foot spans of uninterrupted floor-to-ceiling glass. Column-free corners, many forming acute angles that proved to be a challenge in designing the curtain wall, make the views even more brilliant. Take a look for yourself in the slideshow below.
After seven years of construction, during much of which visitors were sent on an underground detour, the Cleveland Museum of Art’s expansive atrium opened in late August.
The 39,000-square-foot Rafael Viñoly-designed atrium is essentially a massive skylight, which arcs from 55 to 66 feet in height across a space nearly as large as a football field. Planting beds complement the granite floor, anchoring an airy space that houses a second floor mezzanine and could seat upwards of 700 people for events.