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A preview of the collaboration behind the entryway to Ras Al Khaimah
Snøhetta’s 656-foot-tall Gateway tower, 93 miles east of Dubai, will mark the entrance to the new planned capital city of the United Arab Emirates, Ras Al Khaimah. Inspired by the surrounding desert and mountain landscape, the project’s undulating form will bring almost 3 million square feet of mixed-use space to the city, which is being master planned by Netherlands-based firm OMA. Snøhetta has designed a prototype of the building’s white-scaled skin in collaboration with Dubai-based lightweight composite manufacturer Premier Composite Technologies (PCT).
American manufacturing may be on the rocks, but Deborah Berke, principal at Deborah Berke & Partners, believes that by adding a little bourbon, one Kentucky city can make an industrial comeback. Berke is leading a graduate studio at Yale exploring the future of boutique manufacturing in the United States and using an urban distillery in Louisville as a case study.
Yoshiko Sato, an architect and educator who was committed to repairing the world through design, died on Sunday in New York City after a battle with cancer. Sato was born in Tokyo to parents who studied engineering and design, which sparked her interest in science and the arts. Following a tour of Europe to study art and design, the Tokyo native settled in New York in the early 1980s and continued her education at Parsons School of Design. Her professors Billie Tsien, Robert MacAnulty, and Laurie Hawkinson quickly recognized her talent and encouraged Sato to move toward architecture. She transferred to the Cooper Union where she continued her studies under John Hejduk, Toshiko Mori, Tod Williams, and Peter Eisenman, graduating in 1989. In 1996, she received a Masters in Architecture from the Harvard Graduate School of Design where she explored architecture and urban design under Raphael Moneo and received honors for her thesis on rebuilding Kobe, Japan after a devastating earthquake in 1995.
Sato’s professional career in New York bridged architecture, art, and design across a broad range of scales. She operated the Morris Sato Studio with her husband and design partner Michael Morris, exploring the ethereal nature of design as represented in the award-winning retrospective exhibit Shiro Kuramata, 1934-1991 and in her installation LightShowers. She won further accolades for her personal and comprehensive exploration in a pair of houses recently completed on Shelter Island.
Returning to education, Sato was appointed to Columbia’s GSAPP in 1999 where she directed the Japan Lab in Architecture. Her passion for both sustainability and exploration into outer space were clear in her work, including a collaboration with GSAPP and NASA to create Space Habitation Modules.
Sato is survived by her husband, mother, and sister Noriko Oguri of Yokohama, Japan. The staff at The Architect’s Newspaper sends our condolences to her family, friends, and colleagues. Those who wish to honor the memory of Yoshiko Sato may donate to the Japanese Red Cross Society. Condolences may be sent to Morris Sato Studio, 219 East 12th Street, 1st Fl., New York, New York 10003 or email@example.com.
Herzog & de Meuron and Ai Wei Wei are getting the band back together for a brief collaboration for the famed Serpentine Gallery 2012 Pavilion. Now in its twelfth iteration, the Serpentine has commissioned temporary structures by some of the world’s leading architects, including Toyo Ito, Peter Zumthor, and Zaha Hadid. The Swiss architects and the Chinese artist/designer have previously collaborated on the so-called Bird’s Nest Olympic staduim in Beijing. While that project emphasized both strength and fagility with a soaring tangle of intersecting structure, their proposal for the Serpentine will explore the subterranean history and ecology of the site. Read More
Last Friday night, AN‘s William Menking and Aaron Levy launched their new book Four Conversations on the Architecture of Discourse at the Van Alen Bookstore in Chelsea. The book’s publisher, Thomas Weaver of the Architectural Association in London, and the Van Alen’s Olympia Kazi we on hand to help frame the evening’s discourse on discourse.
The new book springs from an earlier effort called Architecture on Display: the History of the Venice Biennale of Architecture, aka “the white book.” In true manifesto fashion, the group sidestepped the official Biennale promo machine by publishing the white book outside of the established Biennale channels and then blanketed the 2010 festival with more than 600 copies. That book transcribed interviews with former Biennale directors and recovered an important history of the forum. From that quick and dirty approach emerged a longer term plot for the “black book” of Four Conversations, which focused architectural display and its relationship to the public.
Last year, BIG (Bjarke Ingels Group) got their heart broken by the Times Square Alliance, which chose a hula-hoop happy design by Freecell Studio for its annual Times Square Valentine’s installation. Now a spokesperson from the Alliance admits that they always “loved” BIG’s design and were willing to give it a second chance. This year, the Alliance didn’t go online looking for love. Instead, they went back to a former flirtation, and chose BIG’s entry from last year, shunning the possibility of outside suitors.
BIG calls its 10-foot high glowing heart sculpture “BIG♥NYC.” The design affair was something of a ménage à quatre, with Flatcut (the fabricator), Local Projects (the interaction designers), and Zumtobel (the lighting designers) pitching in on the effort. Four-hundred LED-lit acrylic tubes wrap a cube that bounds a suspended heart. Not surprisingly, when touched the heart grows brighter.
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A carefully detailed private workspace conceals office equipment behind birch plywood ribs
It’s a reality of the modern work world that many people work from home. But a home office need not look like a corporate cube. That was the idea behind a customized workspace designed for a personal investment advisor by Los Angeles-based Synthesis Design + Architecture. Located in the client’s Chelsea home in London, the design conceals storage units and office equipment behind a sculptural work surface.