Mexico City’s new Museo Soumaya (named after the deceased wife of Carlos Slim, the Mexican billionaire who owns the museum) was finally unveiled to the public late last month. The museum houses 60,000-square-feet of continuous exhibition space spread over six levels and containing over 6,200 pieces from Slim’s art collection.
Designed by Fernando Romero of the firm FREE, the building is shaped like a woman’s bustier with a cinched waist. The amorphous structure is built with 28 curved steel columns of varying diameters, each with its own contoured geometry. While the exterior mass resembles a singular object, the skin is comprised of thousands of hexagonal aluminum modules.
While the building itself is almost opaque–it has no windows–the roof of the top floor is suspended from a cantilever, letting in natural light. The result is a monumental parametric design offering a dramatic sculptural addition to the city once celebrated for its tradition and hand-painted, colorful architecture.
With the exception of the World Trade Center, there’s probably no better place to call a press conference dealing with construction issues than Atlantic Yards. At the moment the controversial project practically guarantees a large press turnout. On Tuesday, the Department of Buildings used the site as a backdrop to launch a new safety campaign for the 7th Annual Workers Safety Week with a particular focus on getting workers to wear harnesses. Sixteen workers have fallen to their death since 2008, prompting the agency to call the campaign “Experience is Not Enough.” In addition to covering the initiative, the press also got a chance to check out progress at the stadium site from “court level.”
In honor of the passage earlier this month of LA’s Baseline Hillside Ordinance (Warning: PDF), which prevents “out-of-scale” single family development on LA’s hillsides via height and FAR restrictions, we’ve dug up five of the most ridiculously gigantic homes in the city. Prepare yourself for an onslaught of square footage, bathrooms (why does the number of bathrooms always seem to double the number of bedrooms?) and opulent taste (note the preponderance of French Chateaus: will there be another revolution?) The ordinance, which goes into effect on May 9, is the third in a series of city measures to prevent McMansions and other neighborhood busters. So perhaps say goodbye to this type of development in LA. At least for now.
The foreclosure crisis has up-ended old assumptions about the relative prosperity of cities versus suburbs. In many regions waves of foreclosures have hit the suburbs hardest. In the second iteration of their “Issues in Contemporary Architecture” residency and exhibition series, MoMA and P.S. 1 will ask five teams to design interventions for five “megaregions” facing high levels of foreclosures. Like the earlier iteration, Rising Currents, the new project, Foreclosed: Rehousing the American Dream will include a residency and public workshops at P.S. 1, followed by an exhibition and public programs at MoMA. Organized by Barry Bergdoll, chief curator for architecture and design, and Reinhold Martin, director of the Buell Center at Columbia, Foreclosed “will enlist five interdisciplinary teams of architects to envision a rethinking of housing and related infrastructures that could catalyze urban transformation, particularly in the country’s suburbs,” according to a statement from the museum.
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A sales center on Toronto’s west side shows off a multifaceted approach to fabrication.
The new Studio On Richmond condominiums are located in the middle of Toronto’s Entertainment District, an emerging cultural area around Queen Street on the west side. The 31-story building, designed by Toronto-based Quadrangle Architects, includes 8,000 square feet of space that the Ontario College of Art and Design University (OCADU) will use as a public art gallery and café. The condo’s 2,950-square-foot sales center needed to reflect the area’s artistic vibe, so interior design firm Mike Niven Interior Design turned to Eventscape, a custom architectural fabricator also based in Toronto, to build a collection of faceted, folded elements to reflect the neighborhood’s personality and inspire potential condo buyers.
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Steel takes on a paper-like appearance at Aomori’s new cultural center, creating a dynamic backdrop for life on the Japanese city’s waterfront.
Nearly a decade ago, Vancouver-based design and production studio Molo Design won an international competition for its design of a housing and community project in Aomori, Japan. As firm founders Stephanie Forsythe and Todd MacAllen worked with the City of Aomori in the years following the competition, the design evolved into that of a cultural center celebrating the city’s yearly Nebuta festival, during which huge mythical creatures made of wood, wire, paper, and lights are paraded through the streets. Though millions attend the festival every August, the cultural center would provide an opportunity for more visitors to witness their creation throughout the year.
Louisville’s Speed Art Museum has unveiled plans for a new addition designed by Culver City, CA-based wHY Architecture with Reed Hilderbrand landscape architects. Located on the campus of the University of Louisville, the museum hopes to increase connections with the city and the university along with increasing gallery and educational space. The scope of wHY’s work includes 200,000 square feet of new and renovated space in three phases valued at $79 million. The first phase including the new north structure will begin construction this year.
A fly-through (after the jump) offers a peak at the design, which calls for a simple monumental form next to the 1920s-era Beaux-Arts main building that cantilevers over a stand of trees forming an outdoor room and cafe on the campus facing side. A large garage-like door opens out to the garden. The street facing side features an outdoor amphitheatre-like seating set in the ground and a large reflecting pool. A cantilever staircase will be visible through the street facing facade.
With architectural discourse today so focused on the impact of digital design, it is hard to remember that 20 years ago all architects talked about was postmodernism. The discussion began with the publication of Robert Venturi’s Complexity and Contradiction in Architecture and Aldo Rossi’s The Architecture of the City but became more focused and intense with the opening of an exhibition devoted to the theme.