Archive for: Blog
There’s a design formula to the traditional haunted house. Among the hallmarks of horror:
A Historic Pedigree. Gothic, of course, is the go-to architectural style for scares, but a spare, blank-windowed farmhouse can also induce apprehension. And the notorious Amityville Horror home was a mild-mannered Dutch colonial.
Fearsome Features. Turrets, towers, and wrap-around porches are all specter-worthy settings. Leaded- or stained-glass windows—cobwebs are optional, but a nice touch—frame blood moons quite well.
The No-Maintenance Look. While crumbling staircases, broken or boarded-up windows, and peeling roof shingles may be a handyman’s nightmare, such decrepit details heighten the impression that a house has been abandoned to the spirits.
The contemporary buildings featured in this post display none of these classic traits, but have some disturbing qualities nonetheless. Their foreboding facades—some evoking mechanical torture chambers, others with a ghostly or skeletal character—might deter even die-hard trick-or-treaters.
Of their transformation of a former prison/school/funeral home, artist-architects Christophe Berdaguer and Marie Péjus state, “To us, architecture is a space for imaginative possibilities, for telling stories to ourselves and others. It is above all a collective dream, that of a community of people and ghosts.”
House 77 was designed by dIONISO Lab. Stainless steel shutters covering the front of the building are perforated with cryptic symbols. These siglas poveiras are part of a proto-writing system that has been used by the inhabitants of Póvoa de Varzim, Portugal for many generations. Typically inscribed in wood or stone, they are used to signify family histories, identify property, and are also used as magical-religious marks.
Meticulous Photoshopping is behind [ahem] the work of French photographer Zacharie Gaudrillot-Roy. He says, “This series of photographs offers a vision of an unknown world that would only be a picture, without intimate space, with looks as the only refuge.”
Photo: Yao Li
As part of the China International Practical Exhibition of Architecture, the Number Four House by AZL Architects sits in an isolated valley. Much as a traditional Chinese scroll reveals select segments of its content, the horizontal breaks in the building’s contoured concrete facade control the views of the surrounding terrain.
Rare Architects wrapped a laser-cut scrim made of powder-coated aluminum around the Town Hall Hotel in London, an adaptive reuse project. It acts as a phantasm of sorts, blurring the boundaries between architectural eras and places, an apparition in the streetscape.
While architects come and go, their edifices live on. Seeking immortality on a smaller scale, the grave markers of some noted designers provide a bit of insight into how these creative forces sought to be remembered. If this subject fascinates you, we recommend Their Final Place: A Guide to the Graves of Notable American Architects by Henry Kuehn.
Cimetiére de Roquebrune-Cap-Martin
Cote d’Azur, France
Temple Beth El Memorial Park
Yale Art and Architecture Building *
New Haven, Connecticut
* In 1998, a portion of the architect’s cremated remains were introduced into the duct-work of the building as part of “The Ventilator Project” by artist Mark Bain.
Ludwig Mies van der Rohe
We’re proud to share some of our clients’ stories that have appeared in the media in September. Next week, in keeping with the frightful nature of October [we refer, of course, to Halloween—not the presidential campaigns] we’ll take a look at tombstones of designers and architects.
Orion Fulton of Arup shares thoughts on creative financing of higher education construction projects in College Planning & Management
A new view of luxury retail design by Kevin Kennon Architects is reviewed in Visual Merchandising & Store Design magazine
Texas Architect editor Aaron Seward pens an insightful profile of Houston architect Dillon Kyle
Deryl McKissack, president of McKissack & McKissack, speaks to The Washingtonian about building the new National Museum of African American Culture and History
Dezeen reports on the new elevated park in Atlanta designed by Rogers Partners
Earlier in this academically-oriented month, the AIA announced the recipients of its Committee on Architecture for Education awards. This year, the jury selected 12 educational facilities that met the criteria of “furthering the client’s mission, goals, and educational program while demonstrating excellence in architectural design.” Of that dozen, we’ve picked our five favorites.
Mundo Verde Bilingual Public Charter School, John F. Cook Campus
Studio Twenty Seven Architecture
Mundo Verde is a sustainability-focused school that consists of two buildings: the renewed historic school and a new pre-K annex. Within the older building, breakout nooks and cubbies are carved from the generous corridors and abandoned ventilation chases. New windows provide natural light to the building core. The façade of the pre-K annex is designed to be deferential to the historic school. A third floor learning terrace, large windows, and building orientation provide for light-filled classrooms which wrap around the natural landscape of the interior play court.
Dwight-Englewood School Hajjar STEM Center
Englewood, New Jersey
The designers of this new building found inspiration in the integrative STEM curriculum as they created an adaptable facility that fosters a cross-disciplinary community. Inside, seven flexible classrooms and eight science labs center around a double-height community area that serves as an “innovation hub” where students are free to explore ideas and projects. Moveable furniture, audio-visual capabilities, and write-on surfaces encourage students to “hack” the space and shape their own learning process.
Kennedy Child Study Center
Pell Overton Architects
New York, New York
In adapting a 1930s warehouse building, the design team faced a number of challenges in the 25,000-square-foot space, including an unusually low ceiling and a lack of natural light. In response, a series of large, colorful lighting bays are cut into the otherwise smooth ceiling, creating the perception of greater height and illumination from above. To further relieve the compressed nature of the lower floor, administrative offices are arranged around two open work areas, providing visual access to new windows and allowing daylight to filter deeper into the space.
Richard Ivey School of Business, Western University
Hariri Pontarini Architects
London, Ontario, Canada
Echoing the architecture of the campus, a towering great hall anchors the entry lobby, with the dining hall, library, and amphitheater extending into the surrounding landscape as distinct pavilions. Designing from the inside out, the architects created spaces that support the school’s case-based and team learning pedagogy. The research-based design process involved numerous workshops and a survey of 60 top business schools. The building’s materials—stone, concrete, glass, copper, steel, walnut, and Douglas fir—were selected for their elemental and timeless qualities.
Steven L. Anderson Design Center, University of Arkansas
Marlon Blackwell Architects; associate architect: Polk Stanley Wilcox Architects
The addition provides 37,000 square feet of new studio, faculty offices, and seminar space as well as a 200-seat auditorium and an exhibition gallery. This project is a hybrid of a historic restoration and a contemporary insertion and expansion. Post-tensioned concrete and Indiana limestone honor the weight and substance of the original structures, while a frit-glass brise soleil and steel curtainwall create a contemporary figure. The overall design establishes a tangible discourse between past and present, while providing state of the art facilities for 21st century architectural and design education.
Time again for pencils, books, and teachers’ dirty looks: School’s back in session. Several of Hausman‘s clients have made recent and future contributions to campuses around the world; here’s a look at a few of these projects.
York University, Bergeron Center of Engineering Excellence
Providing structural, mechanical, electrical, and civil engineering services, Arup delivered this project by BIM, streamlining a process that would usually take two weeks to three days. Designed by ZAS Architects, the building is dedicated to creating “renaissance engineers” through a multidisciplinary curriculum and integrating learning with industry and the global engineering community.
Portland State University, School of Business Administration
Located in close proximity to downtown Portland, this school is positioned to integrate with the city’s rich network of public open space and diverse urban uses. Rejecting the single-building construction that dominates the 200′ x 200′ street grid, the design for the 135,000-square-foot structure appears as two distinct buildings sharing a city block. This approach enhances the public realm by providing a more diverse streetscape, reinvigorating existing links, and creating new arteries between the urban center and its related pedestrian paths, transportation routes, and parks.
Dillon Kyle Architects
This outdoor pavilion serves both symbolic and physical purposes. Sited at the crossroads between the middle and high school campuses, the pavilion is inspired by the sukkah, a temporary structure that is used in the Jewish Festival of Sukkot. Jewish tradition holds that a sukkah must have at least 2 1/2 sides and be open to the sky. The pavilion is used by the school for the sukkah ritual, but also serves an everyday purpose as a place for students to come together for learning, eating, school performances or casual interactions. The materials are tied to the architecture of the school; a limestone base forms informal seating and aluminum forms the pergola-like armature. Similar to classic Greek amphitheaters, a berm visually grounds the structure on the otherwise flat landscape. Creating this topography also amplifies the pavilion’s monumental nature as a central focus, both symbolically and physically, for the campus.
Korman Center, Drexel University
“Our design aspires to give new life to the public face of the Korman Center by projecting openness and transparency and creating dynamic, day-lit interior spaces that connect with an active front porch on the Korman Quad,” says Dana Tang, partner at Gluckman Tang Architects. Renovations planned for the 1958 structure call for the addition of a 9,000-square-foot solarium at the entrance that will serve as a two-story lobby and community space. There will be a cantilevered terra-cotta screen that will serve to protect the interiors from solar heat gain. The classrooms will also undergo makeovers.
Joseph A. Natoli Construction
Rutgers University; Institute of Food, Nutrition, and Health
New Brunswick, New Jersey
The three-story, 80,000-sf facility houses 25 principal investigators researching genomics and molecular nutrition. The $34-million project includes 37,198 square feet of research space, 825 square feet of administration area, and 28,263 square feet of community space. The remaining 13,425 square feet are occupied by mechanical systems and circulation areas. Related site improvements include utility extensions and relocations, building support, and service access.
You’re never too old or too wise to learn. For the time-pressed architectural professional, attending lectures and panels discussions are excellent ways to explore current and classic topics of interest. Here’s our picks for some of the best design-oriented presentations at schools and cultural institutions for the next few weeks.
District Architecture Center
421 7 St NW
Washington, DC 20004
Join AIA|DC’s Committee on Architecture for Education (CAE) for networking, light refreshments, and Pecha Kucha-style presentations at the “Back to School” Fall Social. This event will showcase current work related to the design of learning environments by firms in the DC metropolitan region. Presentations will highlight emerging trends and new design work, including designs still on the boards, completed within the last year, or under construction. Presenting firms include: cox graae & spack, Little, Marshall Moya, Perkins Eastman DC, Quinn, Evans Architects, Shinberg Levinas, Stantec, Studio 27.
960 E 3 Street
“Architecture in the Age of Digital Media” aims to address the speculative directions for architecture in relation to contemporary digital culture. As information becomes increasingly mobile, instantaneous, and pervasive, we take look at the current impact of digital media and the roles online publications and social media will play in the future of architecture and design. Among the panelists joining moderator Bruno Juricic: Birgit Lohmann, CEO/Editor in Chief, designboom; Devin Gharakhanian, Creative Director, SuperArchitects; Amelia Taylor-Hochberg, Managing Editor and Podcast Co-Producer, Archinect; Lucy Redoglia, digital marketing and social media, LACMA; Benjamin Bratton, SCI-Arc Visiting Faculty/Cultural Studies and author of The Stack.
222 W Merchandise Mart Plaza, Suite 100
Chicago Design Summit
“The Iconic House” returns as a session at the Chicago Design Summit. Julie Hacker, FAIA, moderates a panel of four residential architects who will discuss a house from the past that has most influenced their architectural thinking as they present images of their own built work. Representatives from Robbins Architecture, Booth Hansen, Wheeler Kearns Architects, and Melichar Architects will participate.
Cornell School of Architecture
943 University Avenue
Ithaca, New York
Gisue Hariri: Architecture, Nature, and Cultural Identity
For Hariri+Hariri Architects, design is a holistic, boundary-less enterprise ranging from master planning and architecture to interior design, furniture, lighting, product design, and jewelry.
Bard Graduate Center Gallery
18 West 86 Street
New York City
Docomomo: Gallery Tour of Artek and the Aaltos: Creating a Modern World
Join DOCOMOMO New York/Tri-State for a special gallery tour of Artek and the Aaltos: Creating a Modern World, led by its co-curator, Bard Graduate Center Gallery Director Nina Stritzler-Levine. Artek, whose name is a combination of “art” and “technology,” is a pioneering Modern design firm established in Finland in 1935 by Alvar and Aino Aalto, Maire Gullichsen, and Nils Gustav Hahl—a group that shared a progressive vision of the arts and a commitment to enhancing the cultural and social ideals of Modernism throughout the world. Now in its 80th year, the company is being featured in its first US exhibition. Running through September 25, the show considers the Aaltos’ shared practice through the lens of this groundbreaking company, whose under-recognized and multifaceted mission far exceeded its manufacturing of bentwood furniture designed by Alvar Aalto, for which the firm is best known. This exhibition offers for the first time a specific analysis of Artek’s distinct international role as a disseminator of modernism in art, architecture, interiors, furniture, and other products.
Rice School of Architecture
6100 Main Street
Françoise Fromonot, professor at École Nationale Supérieure d’Architecture de Paris-Belleville and Editor of Criticat Journal of Architecture asks—and, we assume, answers—the question “What place is this time?”
MIT School of Architecture
77 Massachusetts Avenue
Morphogensis of Flux Structure
Mutsuro Sasaki, Prof. Dr. Eng., is an emeritus professor at Hosei University in Tokyo, Japan. He is also a founder of Sasaki Structural Consultants since 1980 as well as SAPS / Sasaki and Partners since 2002. Sasaki is an expert of shell structures and a pioneer in the field of computational morphogenesis in structural engineering. His researches focus on the development of design techniques using structural optimizations and form findings based on the mathematical principle of structural mechanics. He has developed the sensitivity analysis method for free-curved shell structures that defines optimum structural solutions within complex design criteria. Recently completed works applying this method includes Meiso-no-Mori Crematorium (2006), Rolex Learning Center (2008), and Teshima Art Museum (2010). His research-based practice extends the analytical works of Antonio Gaudi, Heinz Isler, and Frei Otto into the field of computational designs that has helped shape the contemporary architectural scene in Japan and abroad. Sasaki is a long-term collaborator of Toyo Ito, Sejima and Nishizawa of SANAA, and Arata Isozaki. He has received numerous awards for both theories and practices, including AIJ Prize in 2003 for Sendai Mediateque (2000) and IASS Tuboi Prize for Extended ESO Method in 2004.
VERGE 16 Summit Series: Circular Economy
Santa Clara Convention Center
5001 Great American Parkway
Santa Clara, CA
Chris Luebkeman, the Director of Global Foresight, Research + Innovation at Arup facilitates a discussion exploring the requirements of cities and regions in fostering closed-loop systems of commerce, where products and materials can be continually in use.
USC School of Architecture
Harris Hall, Gin D. Wong, FAIA Conference Center
New Work: Ma Yansong
Beijing-born architect Ma Yansong is recognized as an important voice in the new generation of architects. As founder and principal of MAD Architects, Ma leads design across various scales. Many of Ma’s designs follow his conception of the “Shanshui City”, his vision to create a new balance among society, the city and the environment through architecture.
The Cooper Union
7 East 7 Street, The Great Hall
New York City
Alejandro Aravena, Elemental: Current Work
Alejandro Aravena founded ELEMENTAL in 2001 in Santiago, Chile with Gonzalo Arteaga, Juan Cerda, Victor Oddó, and Diego Torres. Aravena is a partner and executive director. He is the 2016 Pritzker Prize Laureate and served as the Director of the XV Venice Architecture Biennale. ELEMENTAL focuses on projects of social impact, including housing, public space, infrastructure, and transportation.
AIA NY Center for Architecture
536 LaGuardia Place
New York City
Cocktails and Conversations Series
Architect Shohei Shigematsu, Partner/Director of OMA New York Architects and Amanda Dameron, Editor-in-Chief, DWELL magazine, discuss current architecture and design issues in an informal setting.
Carnegie Mellon University
School of Architecture
5000 Forbes Avenue, Miller Gallery
Architecture With and Without Le Corbusier: A Talk with José Oubrerie
An internationally renowned French architect and protege of Le Corbusier, Oubrerie was the project architect for the Saint-Pierre de Firminy Church, seeing the final design through to completion in 2006. Other projects include the French Cultural Center in Syria, the Miller House in Kentucky, and the Chapel of the Mosquitoes in New York.
260 West 23 St
New York City
Architecture & Design Film Festival
In his new film, “The Architects: A Story of Loss, Memory, and Real Estate,” director Tom Jennings follows the international competition to rebuild the site of the World Trade Center after 9/11. Focused on the unrealized design proposal from United Architects, the film sheds light on the importance of this public competition, which delicately considered the site’s history, symbolism, and future. United Architects was a collaboration between Greg Lynn of Greg Lynn FORM, Kevin Kennon of Kevin Kennon Architects, Ben van Berkel of UNStudio, Peter Frankfurt of Imaginary Forces, Jesse Reiser & Nanako Umemoto of Reiser + Umemoto Architects, and Alejandro Zaera-Polo & Farshid Moussavi of Foreign Office Architects.
Bancroft Way/College Avenue
Jessica Rosenkrantz & Jesse Louis Rosenberg: Nervous System
Founded in 2007, Nervous System has pioneered the application of new technologies in design, including generative systems, 3D printing, and webGL. Nervous System releases online design applications that enable customers to co-create products in an effort to make design more accessible. These tools allow for endless design variation and customization. Nervous System’s designs have been featured in a wide range of publications, including WIRED, The New York Times, The Guardian, Metropolis, and Forbes.
Harvard Graduate School of Design
42-48 Quincy Street
New forms of urban order through solar orientation are suggested by recent projects by leading architects and urbanists, correlating the shape of the city to a complex and contradictory economy of solar performance. At this talk, Thom Mayne (Morphosis) and Jeanne Gang (Studio Gang) will present work from their respective practices and discuss their relationship to the ideas of architect Ralph Knowles, the pioneering theorist of the “solar envelope.”
Back to school, back to work—September is the time we begin to reconnect with the various responsibilities of our lives, after (hopefully) enjoying the less-demanding pace of the mid-year. Before we completely surrender summer, here’s a selective list of coverage Hausman clients received in August. Next week, we’ll delve into educational opportunities offered by architecture and design schools.
Architectural Digest reports on Torre Reforma, Arup‘s new project in Mexico City
A rule-breaking home by Dillon Kyle Architects is toured by Houzz
YIMBY New York checks on the progress of Francis Cauffman‘s healthcare center in Brooklyn
Museo Picasso Málaga by Gluckman Tang is cited by Metropolis as one of the best interiors of the 21st century
Visual Merchandising and Store Design visits the Panama City branch of luxury retailer Felix by Kevin Kennon Architects
W Architecture and Landscape Architecture‘s dynamic St. Patrick’s Island is profiled by Parks and Rec Business
In addition to being a global sports spectacular, the Olympics (at least in the modern televison-era) is known as an arena for marketing and merchandising sponsorship. This commercial aspect of the Games is just as competitive as the athletic component. Swoops, arches, apples, and more: graphic logos abound on every surface, vying for attention. In a way, this is historically appropriate; the Olympics are Greek in origin, and logos is a Greek word meaning “word.”
Successful logos have some core qualities. They are simple, cleanly rendered images. They are memorable; it’s important to create a distinct and lasting impression. Logos avoid trendiness, which makes a design—and by extension, the company it represents—look dated and out of touch. A timeless look will communicate the message most effectively. The image must be versatile. This means it should be suitable for a wide variety of uses: for small and large applications, reproduced on different materials, in black-and-white as well as in color. Finally, a logo should be appropriate to the business. The mark ought to convey something meaningful about the company and its values.
The good sports at AIGA gave us permission to share some of designer Milton Glaser’s thoughts on Olympics logos. Here, we’ve excerpted a few of his comments on some winning imagery…
Tokyo, Summer 1964
Appropriately redacted and without any confusion. The parts fit. Score: 92 out of 100
Athens, Summer 2004
The olive branch representing the games is executed in a fresh and unexpected way. Because it looks less like a corporate logo, we feel more affectionate toward it. The blue feels right reflecting both the event and Athens at the same time. Score: 90 out of 100
Barcelona, Summer 1992
This mark is unexpectedly convincing. The 3 strokes representing the human figure have a good scale relationship to the world ‘Barcelona ’92’ and the rings. Score: 85 out of 100
Rio, Summer 2016
A presentation that looks fresh and contemporary. The athletes joining hands at the top are executed in a way that works well with the other elements. It feels like something new. Score: 85 out of 100
…and his observations on some less successful logos:
Paris, Summer 1924
Bad beginning, the elements are unrelated visually and the imagery is confusing. The surprinted lettering is unreadable. Score: 20 out of 100
Berlin, Summer 1936
Strange and lacking focus. The Olympic rings become subordinated to the eagle and bell forms. The spirit of the Olympics is totally absent. Score: 20 out of 100
Los Angeles, Summer 1932
A visual disaster; combining the rings, a laurel leaf and the American shield in an overlapping pattern is impossible. The typography goes on its own unrelated way. Score: 25 out of 100
The Rio games may be over, but we’re happy to help wean sports fans off their recent diet of swimming, gymnastics, and track and field [to say nothing of badminton and water polo], with a survey of some memorable Olympic architecture.
Rio de Janeiro 2016
Golf is a sport of precision and balance, and the design of this complex reflects those qualities. Locker rooms, lobbies, pro shop, and administration areas are located in small, low buildings around a courtyard, with views opening to the course beyond. The translucent fabric roof over the plaza funnels rainwater into a collection tank; the water is used for grounds maintenance.
The concept for this building was inspired by the fluid geometry of water in motion, creating spaces and a surrounding environment in sympathy with the riverside landscape of the Olympic Park. An undulating roof sweeps up from the ground as a wave, enclosing the pools of the Centre with its unifying gesture. After the Olympics, the facility was downsized: the wings were lopped off, and seating capacity reduced from 17,500 to about 2,500.
The architect was fired from the job in mid-construction; that’s just the first salvo in a fusillade of failures for this stadium. More than a decade after the games were over, the retractable roof was finally completed in 1987; functionally deficient, it was removed in 1998 and replaced by a fixed roof. The 575-foot tower element of the stadium contains a funicular, which runs up to an observatory. The 56,000-seat stadium was used for several years for professional baseball and football games; today, the deteriorating structure is infrequently used as an events venue.
Through its dynamic, curving walls, the design of this venue evokes the flow and precision inherent in competitive shooting. Three buildings sport crisp, white double-curved façades studded with brightly colored circular openings, which act as ventilation intake portals. They also function as tensioning rings, keeping the PVC-fabric façades from flapping in the wind. After the Olympics, the buildings were dismantled—as intended—flat-packed, and shipped to other sites for use.
The last full month of summer, August presents a final opportunity to enjoy recreational pursuits—as a spectator or participant—before the autumnal commitments of school and work return. In weeks to come, we’ll take a look at the architecture of the Olympics, as well as the graphic branding of the Games over the years. Today, we’re indulging in a survey of a rarefied design sector: yachts designed by architects and artists.
Frank Gehry sets sail in Foggy, which he designed in collaboration with German Frers. Titanium details and wavy, lattice-like ports give the 74-foot daysailer a most unusual presence. Foggy was built at the venerable Brooklin Boat Yard in Brooklin, Maine.
Dazzle camouflage certainly influenced Jeff Koons’ design for this 115-foot craft (christened Guilty) and we detect a bit of Roy Lichtenstein in the comic-book colors and Ben-Day dots, too.
Koons’ Guilty accomplishes optically what Zaha Hadid’a Z-Boat does in three dimensions. Its squared-off bow defies conventional thinking about what constitutes a streamlined vessel; nonetheless, it conveys an impression of speed and power. The 24-foot powerboat was produced in a limited edition of 12 by Shoreteam.
Not a slack halyard or an untidy coil in sight—John Pawson’s B60 is shipshape, indeed. Pawson teamed with naval architect Luca Brenta to create a sloop in his signature minimalist style. The hull, a graceful arc of polished carbon fiber, seems to float above as much as in the water.
For a more accessible seafaring experience, we recommend any of the excellent Around Manhattan tours, produced by the NY AIA in partnership with Classic Harbor Line. Expertly led by professors and practitioners of architecture, the tours offer a waterfront perspective on landmarks new and old from the vantage of teak- and mahogany-detailed, 1920s-style yachts.