Significant Architecture : 2012Posted: November 16, 2012
Significant Architecture : 2012
By Frank Cunha III, AIA
There is so much going on in the world of Architecture around us today and so many interesting projects that to only select 10 significant projects proves difficult if not impossible. I hope that the following offers a glimpse to what I have been exposed to recently. I also want to apologize in advance for the scores of projects I missed but I hope are immortalized here with their counterparts.
Architectural Revival – United Nations Headquarters
Whenever we as Architects think of our projects we seldom think of them as “temporary.” Afterall, one of the things we strive for as Architects is immortality. Our desire is that our souls live on in the buildings and spaces that we create. That is why I wanted to select recent project that incorporated the revitalization of a masterful work of architecture. Here is an example of what is possible when a project is revisited and enhanced to meet the needs of its occupants. I also wanted to show case this building because of what is stands for and as an example of how far Architecture is able to reach people across the globe and able to unite us as a family of human beings.
International Style – Revival of an Icon: The United Nations renovation team brings back the long-faded luster of the Secretariat while satisfying ambitious performance goals.
The following was originally published in an Observer article “U.N. Architects Back to the Drawing Board; Pritzker Winner Still on Board” by Matt Chaban:
“The United Nations has a long tradition of employing the world’s finest architects.
The original Secretariat complex was the work of Le Corbusier and Oscar Niemeyer, two of the most revered designers ever to pick up a T-square. DC-1 and DC-2, the 1976 expansion of the campus better known as U.N. Plaza, was designed by Kevin Roche, builder of many New York towers and heir to the throne of Eero Saarinen.
In 2002, when it came time to plan for a new tower to house this globetrotting workforce, the United Nations Development Corporation, the city agency that handles all U.N. property, held a competition. It was open only to Pritzker Prize winners, and Japanese architect Fumihiko Maki was selected in 2004. Not long after, the project ran into political hurdles and was put on hold, but earlier this month Albany, the city and the U.N. reached a deal so the project can move forward. Almost as soon as the ink had dried on the land swap, Mr. Maki and his local partners, FXFowle, unrolled their blueprints and got back to work.”
The following was originally published in the September 2012 issue of the Architectural Record:
“The original design-team members were not oblivious to the problems associated with their orientation choice, however, Le Corbusier argued for an envelope solution that included external shading devices, such as the brise-soleil that had been installed on his 1933 Salvation Army project in Paris several years after its completion. Harrison, meanwhile, advocated the use of insulated glazing, a new technology consisting of two layers of glass with a sealed air space in between. The U.N. originally chose insulated glazing based on a cost study by the mechanical-engineering firm Syska Hennessy (which, coincidentally, is also the mechanical engineer for the U.N. renovation). The study showed that the new glazing technology would be less expensive and easier to maintain than the combination of conventional glazing and an external shading system. However, the insulated glass was also eventually eliminated from the specifications, not only due to its cost premium over single glazing but also because the layered glass was too heavy for the double-hung sashes. Its international design team notwithstanding, the Secretariat “fell victim to that uniquely American practice affectionately known as ‘value engineering,’ ” says Heintges.
Architecture Under Construction – One World Trade Center
Probably one of the most significant projects currently under construction is the new tower located at One WTC. Apart from exemplifying that un-built Architecture (as one of my college professor put it) is merely masturbation which is part of the reason it was selected. More importantly One WTC was picked because it shows how the forces of a people come together to construct a symbolic structure that radiates meaning to everyone who sees it. Both as an object and as a place to be occupied One WTC, once completed, will serve as a symbol of the city it inhabits.
Gross square footage: 3,500,000 square feet
Total construction cost: $3.19 billion
Architect: Skidmore, Owings & Merrill LLP
The following was originally published in the September 2011 issue of the Architectural Record:
There is no denying that One World Trade Center (WTC), the 104-story tower now rising at the northern end of the Ground Zero site, is a tremendously ambitious commercial real estate venture. The building, owned by the Port Authority of New York and New Jersey with the developer Durst Organization holding a 10 percent stake, will contain 3.1 million square feet of office space when completed in late 2013. Below grade, connected to the WTC site’s vast underground transportation infrastructure, there will be 55,000 square feet of retail, and near the top, the tower will include a two-level observation deck and a restaurant. But when the designers of the $3.19 billion project describe the building, they generally focus first on its potential as a symbol: “It will serve as the marker of the 9/11 memorial on the skyline,” says David Childs, consulting design partner to Skidmore, Owings & Merrill (SOM).
A Return to “Modern” – The Barnes Foundation
This “Retro” project is an example of how Architects study the Architecture that came before them and build on it accumulated knowledge. All Architecture, no matter how innovating, stands on the shoulders of the ones who came before it. In this example, the Architects draw clues from a few of the greats: Louis Kahn, Carlo Scarpa, and Edward Larrabee Barnes—masters of the late-Modern museum to create their very own masterpiece.
Completion Date: May 2012
Gross square footage: 93,000 GSF
Total Project cost: $150M
Architect: Tod Williams Billie Tsien Architects
The following was originally published in the June 2012 issue of the Architectural Record:
“Taking cues from the designs of Louis Kahn, Carlo Scarpa, and Edward Larrabee Barnes—masters of the late-Modern museum—the new Barnes shows its architects (who are best known for their modestly sized, now closed American Folk Art Museum in New York City) working at a high level. Most impressive of all is the thoughtful sense of procession that carries visitors through the $150 million complex, first from the outside in and then from the museum’s airy common spaces almost inexorably toward the smaller-scaled galleries.”
Curvalicious Architecture – Heydar Aliyev Cultural Center
Love or hate ‘em—the Starkitects also define the direction of Architecture. Ever since I first laid my eyes on Zaha’s sketches back in Architecture School I have been a sucker of her work. The trends of post-modernism culled with a dash of the post-PM millennium design prevalent in Rem Koolhaus, Morphosis, Peter Eisenman, and Zaha Hadid’s work is one that will shape our landscape forever. This kind of design shows how Architects are able to reshape nature, albeit on a temporary basis, to alter the surfaces, forms, and materials that we are able to enjoy as we move through the spaces – inside and outside.
The Cultural Center houses a conference hall with three auditoriums, a library and a museum. The project is intended to play an integral role in the intellectual life of the city. Located close to the city center, the site plays a pivotal role in the redevelopment of Baku. The site neighbouring the Heydar Aliyev Cultural Center is designated for residential, offices, a hotel and commercial center, whilst the land between the Cultural Center and the city’s main thoroughfare will become the Cultural Plaza – an outdoor piazza for the Cultural Center as well as a welcoming space for the visitors.
The Heydar Aliyev Cultural Center represents a fluid form which emerges by the folding of the landscape’s natural topography and by the wrapping of individual functions of the Center. All functions of the Center, together with entrances, are represented by folds in a single continuous surface. This fluid form gives an opportunity to connect the various cultural spaces whilst, at the same time, providing each element of the Center with its own identity and privacy. As it folds inside, the skin erodes away to become an element of the interior landscape of the Cultural Center.
Heydar Aliyev Cultural Center had an official soft-opening ceremony on 10 May 2012 held by current president of Azerbaijan Ilham Aliyev. As of today, works on the interiors are still ongoing and the building is not open to the public yet.
Religious – St. Nicholas Eastern Orthodox Church
Architecture, for me, is spiritual. It is a divine connection between the creator, the occupant, and the spiritual world. This simple church demonstrates how function can follow form. It is simple and economically feasible for the patrons. It is sleek and modern and addresses the needs of the client and the occupants. The bright red cross offers a clear symbol indicating the use of the building.
Gross square footage: 3,600 sq.ft.
Completion date: December 2009
Architect Marlon Blackwell Architect
The following was originally published in the November 2011 issue of the Architectural Record:
“The congregation couldn’t afford to build a brand new church. They may in about seven years, when the current mortgage is paid off and membership grows from 120 to a projected 200 parishioners. In the meantime, Jonathan Boelkins, project manager, says he and his team thought about tearing down the shed. “But it had structure and it had a roof, and so we thought, well, we’ll see what we can do with it,” he says. Boelkins and Blackwell wanted to give the building a presence from the road and, as Blackwell says, “give spirit form in the present.” They studied the history of Orthodox churches and found that their designs vary widely in the world: Each takes on a regional identity, rooted in its time, and St. Nicholas would be no different.
Blackwell and his team kept the roof, the structure, and the original skin on all but the western elevation and other, select areas. But they wrapped the building in new box-ribbed metal panels, keeping the western elevation white and the rest a dark bronze. “The panels are just exquisite,” says Blackwell. “They turn the building into corduroy.”
The shed’s long axis ran north-south, but the Orthodox like to pray facing east. The architects added a narrow addition to the western elevation to create the narthex. They moved the front entrance to the western elevation and marked the interior entry to the sanctuary with a steeple. Focus in the sanctuary is on the iconostasis in front of the altar, where Father John Atchison, parish priest, performs the rituals of the service under a slot window that allows morning light to filter in.”
Architecture as Sculpture – Wendy at MoMA PS1
All Architecture has the ability to function as art in some capacity. In this case Architecture can be displayed, looked at, and occupied. It is also important to think about Architecture as something that can transform, be put up, taken down, and reinstalled someplace else. Various applications and variations on this theme exist. What is also exciting about this project is that the Architects gave this object a name, which makes the Architecture itself a personified character with it’s own personality.
The following was originally published on MoMA PS1’s website:
“The Museum of Modern Art and MoMA PS1 announce HWKN (Matthias Hollwich and Marc Kushner, New York) as the winner of th annual Young Architects Program (YAP) in New York. Now in its 13th edition, the Young Architects Program at MoMA and MoMA PS1 has been committed to offering emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation at MoMA PS1 that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling. HWKN, drawn from among five finalists, will design a temporary urban landscape for the 2012 Warm Up summer music series in MoMA PS1’s outdoor courtyard.”
Architecture Fun – Playing with Barcodes
Architecture can be playful. There are many examples of this throughout history. This project incorporates emerging technology with playfulness.
The following was originally published by the Curators of the Russian Pavilion by Sergei Tchoban and Sergey Kuznetsov of SPEECH Tchoban & Kuznetsov
“Every surface inside the top floor of the Russian Pavilion at the Venice Architecture Biennale is covered in QR codes, which visitors decode using tablet computers to explore ideas for a new Russian city dedicated to science.
In our pavilion we have tried to find an architecture metaphor for connecting the real and the virtual. People today live at the intersection of on- and off-line; ‘our common ground’ is becoming a cipher for infinite mental spaces.”
Transportation Architecture – Kaohsiung Port and Cruise Service Center
Architecture plays an important role as a connector. One example where Architecture engages a site and its occupants is this waterfront terminal. The building’s occupants are surrounded by fluid forms, shapes and materials.
The following was originally published on ArchDaily’s website on December 14, 2010:
“Check out Reiser + Umemoto’s latest win for the Kaohsiung Port and Cruise Service Center in southern Taiwan. Working with Taipei-based Fei and Cheng and Associates, New York-based Ysrael A. Seinuk, PC and Hong-Kong based Arup, the new development exploits its waterfront placement as tumbling organic wave-like volumes cascade out toward the waves.
The port terminal is an experiment of “dynamic 3-dimensional urbanism” which amplifies the flow of pedestrian traffic through an elevated and activated boardwalk which runs continuously along the water. Meanwhile, beneath this level of public promenade, cruise and ferry functions are located just below. In this way, the layers create a dense range of programs, yet separating the cruises and ferries help maintain secure areas for departing/arriving passengers.
Structurally, the building’s skin is a system of nested, long-span shells. The shells are composed of an underlying steel pipe space frame which is sandwiched by cladding panels to create a useable cavity space. “Overall an experience of directed yet funactionally separated flows will lend an aura of energy to the point terminal space,” explained the architects.
The project is scheduled for construction in 2012 and expected to be in operation by 2014, with a construction budget of approximately $85,000,000 USD. The competition is sponsored by the Kaohsiung Harbor Bureau, Ministry of Transportation and Communications, Taiwan, ROC.”
Architecture as Public Space
We look to Architecture for meaning. On this project an Artist and Architect team up to create this fantastic object in the landscape. Architecture can exist without a roof or walls.
Completion Date: June 2012
Artist: James Turrell
Thomas Phifer and Partners
180 Varick Street, 11th Floor
New York, NY 10014
The following was originally published in the July 2012 issue of the Architectural Record:
Anchoring the western end of Rice University’s main quad in Houston, James Turrell’s new 118-foot-square Skyspace emerges from the earth (or lands from the heavens, depending on how you see it) in front of the monolithic Shepherd School of Music. “This is architecture that light and space makes,” explains the artist. When the sun illuminates the atmosphere, you can’t see through it to view the stars that are there, he points out. “Light not only reveals, it also obscures—so you can actually build a space with it. I use light and architecture in that way: to limit space and to reveal it, either way.”
Turrell started his series of Skyspaces—enclosed rooms with an aperture open to the sky—in the 1970s, and to date he has created 73 across the world. In the early days, he would often make his works by cutting through existing buildings, such as his Meeting at New York’s MoMA PS1. But, to avoid irritating architects, as he says (and perhaps being irritated by them as well), he graduated to creating autonomous structures: buildings with holes designed in them, and no real function, much like a folly or gazebo.
Dubbed Twilight Epiphany, Turrell’s piece at Rice is composed of a 12-foot-8-inch-high grass berm that rises against the backdrop of the campus’s neo-Byzantine brick academic quads. The truncated pyramid form, which employs a concrete structure below and steel columns above, is topped with a 72-foot-square conventional membrane roof with a steel-plate knife-edge and a 14-foot-square aperture at its center. A lower-level seating area accommodates 44 people and features the artist’s trademark benches, made of Texas pink granite. Precast-concrete seating for 76 occupies the upper viewing area, where LEDs are installed for the two daily light shows programmed to correspond with sunrise and sunset. Made possible by a gift from Rice trustee and alumna Suzanne Deal Booth, who suggested the university work with Turrell, the Skyspace is the artist’s first engineered for sound (he worked with the music school to develop the concept), and it will host a variety of performances, some specially created for the space.
“We took James’s drawings and we turned them into something,” says Phifer, who has worked with numerous artists over the years and was happy to add Turrell to the roster. Not surprisingly, Turrell was very particular about the dimensions and scale of the room, the height the roof rose above the berm, the exact size of the opening, and the precision of the knife-edge, says the architect. “All of those details he’s been doing for most of his life—it’s a huge part of this work. The result is hypnotic. You’re taken to another place.”
“Though my work may not inform architecture, it can inform an architect about how we perceive,” says Turrell. “My interest is working in this space that we inhabit, which is not always the physical space that we have built.”
During the day, Twilight Epiphany gleams, a beautiful object offering an intriguing pause against the columned facade of the aggressively Postmodern Ricardo Bofill music school. As night falls, the colors projected on the levitating white canopy shift in juxtaposition to those in the sky. The frame brings passing objects into surreal focus—a cloud, a plane, a bug—and the walls dissipate, leaving you to consider the multitude of possibilities beyond.
The Architecture of Giving – Designing With a Purpose
Last but not least is this place holder for the Architecture of giving. There are so many exciting and interesting projects taking place around the world around us. Architects (like Doctors Without Borders) give back to the communities they serve and the global community. After disasters Architects and their counterparts (Engineers, designers, contractors, etc), help in the cleanup and rebuilding process. It is important to remember that all these projects make a difference in the lives of the people that they impact. Although they do not always wind up in a book or magazine, these projects are still examples of what it means to be a great Architect by providing design expertise in adverse conditions.
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Frank Cunha III
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