Showing posts from category: architect
New Haven, Conn. — Pelli Clarke Pelli Architects will design a new headquarters for Vietnam’s national oil and gas company, creating a landmark development in Hanoi. PetroVietnam Construction Joint Stock Corporation, a subsidiary of PetroVietnam Oil and Gas Group, selected the firm following an international competition. The project is expected to break ground by the end of the year.
“We are honored to be selected for such a prominent project for one of Vietnam’s most important companies,” said Fred Clarke, Senior Principal of Pelli Clarke Pelli Architects. “Our design expresses the prestige of PetroVietnam and the potential of Hanoi and all of Vietnam.”
In the proposed design, a 79-story tower known as PetroVietnam Tower will contain the company’s headquarters and a luxury hotel. This building will be the centerpiece of the development and the city’s tallest building. To create its distinctive silhouette, the tower is hexagonal at the base and becomes triangular at the top. An adjacent 84,000-square-meter podium is composed of curving forms. A new center for the community, the podium will include a petroleum museum and media center, shops, and a skating rink. At the opposite end of the podium will be a 47-story residential tower with curved facades and a sloping top.
Highlighting PetroVietnam’s interest in sustainable energy, the development will be designed for LEED Gold certification. A glass wall will allow visitors to view some of the building’s high-performance systems in operation. In addition, part of the podium roof will be clad in photovoltaic panels. The building’s use of advanced technology extends to its structural design, which will enable the building to withstand a severe earthquake.
PetroVietnam Tower will be Pelli Clarke Pelli’s second project in Vietnam. The first, Vietcombank Tower, is under construction in Ho Chi Minh City.
About Pelli Clarke Pelli Architects
Founded in 1977 and led by Cesar Pelli, Fred Clarke, and Rafael Pelli, Pelli Clarke Pelli Architects has designed some of the world’s most recognizable buildings, including the World Financial Center in New York, the Petronas Towers in Kuala Lumpur, and the International Finance Centre in Hong Kong. The firm has been honored with critical acclaim and hundreds of design awards, including the American Institute of Architects’ Firm Award and the Aga Khan Award for Architecture.
Portugal’s Eduardo Souto de Moura, who has designed soccer stadiums, museums and office towers in his home country, is the winner of this year Pritzker Architecture Prize, the highest honor for architects.
Among his best-known buildings are the soccer stadium in Braga, Portugal, where European soccer teams fought for the championship in 2004; and the 20-story Burgo Tower office block in his native city of Porto, built in 2007. Souto de Moura, 58, has also built family homes, cinemas, shopping centers and hotels and since setting up his own office in 1980.
Jury Chairman Peter Palumbo said Souto de Moura “has produced a body of work that is of our time but also carries echoes of architectural traditions,” according to a statement today from the Hyatt Foundation, which awards the prize.
“He has the confidence to use stone that is a thousand years old or to take inspiration from a modern detail by Mies van der Rohe,” the statement said.
Souto de Moura worked for fellow Portuguese architect Alvaro Siza for five years before founding his own company. Siza won the Pritzker Prize in 1992.
Other previous winners of the prize, which is worth $100,000, include Norman Foster, Rem Koolhaas and Frank Gehry. The Hyatt Foundation established the prize in 1979 to honor a living architect.
eVolo magazine has run a tidy little competition for the last five years, inviting architects to innovative new skyscraper typologies. Today, the winners of the 2011 Skyscraper Competition were announced and we’ve got a recycling wind turbine, an energy- and water-harvesting horizontal tower, and a re-imagining of the Hoover Dam.
Jury members included SOFTlab principals Jose Gonzalez and Michael Svizos, architecture critic John Hill, Mitchell Joachim of Terreform One, CarloMaria Ciampoli of Live Architecture Network, and a host of other working and teaching architects (see the full list here).
FIRST PLACE: ‘LO2P Recycling Skyscraper’ by Atelier CMJN (Julien Combes, Gaël Brulé)
“The idea behind this skyscraper is to recycle the old cars and use them as building material for the new structure. The building is designed as a giant lung that would clean New Delhi’s air through a series of large-scale greenhouses that serve as filters. Another set of rotating filters capture the suspended particles in the air while the waste heat and carbon dioxide from the recycling center are used to grow plants that in turn produce bio-fuels.”
“The idea behind this skyscraper is to recycle the old cars and use them as building material for the new structure. The building is designed as a giant lung that would clean New Delhi’s air through a series of large-scale greenhouses that serve as filters. Another set of rotating filters capture the suspended particles in the air while the waste heat and carbon dioxide from the recycling center are used to grow plants that in turn produce bio-fuels.”
SECOND PLACE: ‘Flat Tower’ by Yoann Mescam, Paul-Eric Schirr-Bonnans, and Xavier Schirr-Bonnans
Imagined for medium-size cities where vertical skyscrapers do not fit the skyline, the flat tower is a “new high-density typology that deviates from the traditional skyscraper. The medium-height dome structure is perforated with cell-like skylights that provide direct sunlight to the agricultural fields and to the interior spaces. The dome’s large surface area is perfect to harvest solar energy and rainwater collection.”
THIRD PLACE: ‘Reimagining the Hoover Dam’ by Yheu-Shen Chua, United Kingdom
This project merges the programs at the current Hoover Dam — viewing platform, a bridge, and a gallery – into a “single vertical super structure.”
There a long list of honorable mentions, and we’ve highlighted below some especial favorites (clockwise from top left):
‘Sports Tower’ by Sergiy Prokofyev and Olga Prokofyeva, Ukraine
‘RE:pH Coastscraper’ by Gary Kellett, United Kingdom
‘White Cloud Skyscraper‘ by Adrian Vincent Kumar and Yun Kong Sung, New Zealand
‘Seeds of Life Skyscraper’ by Mekano (Osama Mohamed Elghannam, Karim Mohamed Elnabawy, Mohamed Ahmed Khamis, Nesma Mohamed Abobakr), Egypt
‘Waste Collector Skyscraper’ by Agata Sander and Tomek Kujawski, Poland
‘Hopetel: Transitional High-Rise Housing’ by Asaf Dali, United States
Via Architizer.com
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Broadway Malyan continues global expansion with first theatre design in China
International architecture, urbanism and design practice Broadway Malyan has completed the design of its first theatre in China, the Kanas Lake Performance Theatre.
The new theatre, set in an area of outstanding natural beauty in the Xinjiang province of North West China, is a multi-purpose theatre for the Provincial Government. It will house a 1,200-seat auditorium for performance arts including theatre, opera, musicals and dance.
The design draws on powerful yet simple forms, with the theatre auditorium enclosed within two protective wings wrapping the shell as if protected within clasped hands. The smooth shape and flowing forms sit harmoniously within the natural contours of the site and dramatic background of the Kanas mountains. The sweeping forms rise around the theatre shell to evoke the dynamic movement of traditional Chinese ribbon dance.
Broadway Malyan has now delivered the design package to the local design institute and will monitor the detail design and site build. Enabling works are already underway and work on the main structure is due to start this summer.
Director Peter Vaughan said: “We have a broad project portfolio in the cultural and leisure sector. However, this is our first theatre project in China and it reflects our ever-increasing portfolio of high-profile, international projects, across all sectors.
“This portfolio is growing as the result of our strategic global push and focus on growing our business in the Far East and China, with the practice having recently announced that it earns just over half its fees outside of the UK and Europe.”
Via World News Architecture
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Broadway Malyan, Chinese ribbon dance, Kanas Lake Performance Theatre, North West China, Peter Vaughan, Xinjiang province
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Carl Galioto
Mr. Galioto, 57, is the managing principal of the New York office of HOK, one of the world’s largest architecture firms. HOK New York’s current projects include LG Electronic’s headquarters in Englewood, N.J., and Harlem Hospital.
Mr. Galioto joined HOK in 2009, after 30 years with Skidmore, Owings and Merrill, where he helped design One and Seven World Trade Center.
Q Why did you leave S.O.M.?
A My focus at S.O.M. was on the technical elements of architecture and project delivery. I was interested in having a broader role in the management of an office and of a firm. I also wanted to work on building information modeling on a firmwide basis. So this is Chapter 2.
Q What are your duties at HOK?
A I have three principal jobs, and I like to joke that each takes up 30 hours a week.
One is being responsible for the financial management of the New York office and business development.
The other is to be the chair of our Project Delivery Board, which focuses on the documentation and management of projects firmwide. The third part is being a director of our Building Smart program, a platform for building information modeling.
Q What exactly is building information modeling?
A Essentially creating buildings in a virtual environment. We use a variety of applications to design buildings and to simulate the activities and operations.
Q Are you working on many projects?
A We have 25 to 30 projects in this office, which is up from last year.
Health care is the strongest of our components. We’re designing a number of hospitals, including the University Medical Center at Princeton, and Harlem Hospital.
One of the more interesting projects is the North American headquarters for LG Electronics. We also designed the Canon U.S.A. headquarters on Long Island and the BMW North America headquarters in New Jersey.
Q Was it your idea to move HOK’s New York headquarters to Midtown?
A One of my efforts has been to raise the visibility of HOK through the relocation to Bryant Park — really at the center of New York. Interestingly, our predecessor firm, Kahn & Jacobs, designed this building, so we were meant to be here.
We’re in a 12-year lease and made a very nice agreement with our landlord, Blackstone. We fit the space from a sustainable standpoint.
Q How so?
A We are tracking to be a LEED-platinum interior space, and one of the ways is through low-energy consumption.
We’ve reduced the energy consumption, attributable to lighting, by about 40 percent. Because of the daylight we could work with very low light levels here — most of the light in architects’ offices now is coming off computer screens. We have motorized shades with daylight sensors throughout the office.
We have low water consumption in the toilets, and each enclosed space has its own air control, so we don’t have to overcool or overheat the air. And, of course, all of the materials here have been carefully selected.
Q Are most of the projects you design sustainable?
A We go for silver, gold and platinum levels on projects we design, and we’re looking to exceed that. We are moving ahead with several designs for net-zero-carbon buildings. At HOK, the design of high-performance buildings is our design aesthetic.
Q Do you have a favorite architectural style?
A I’ve always had a fascination and appreciation for the Modernism of the midcentury — elegant and somewhat spartan — and I was fortunate to have worked on the restoration of Modern buildings, like the Lever House.
Q You also worked on One World Trade Center while at S.O.M.
A It was more than a project, because it was so meaningful to New Yorkers — not only for the symbolism but for the security of the occupants of that building.
But as an architectural element, it’s also significant and an important component of our skyline. The building is very symbolic, as you know: It rises to 1,368 feet, the same height as the original south tower, and with the mast reaches 1,776 feet. The base is 200 by 200 feet, the same dimensions as the old towers.
Q Did you always want to be an architect?
A Ever since I could remember. I remember being a very small boy at my grandparents’ backyard in Brooklyn and taking folding chairs, boxes and whatever I could find and piling them together in different shapes. I must’ve been like 4 or 5 and doing that sort of thing. I was always fascinated by the building process.
Hat tip NYT
LOS ANGELES, March 1, 2011 /PRNewswire/ — Cesar Pelli celebrated a milestone for the Red Building on Monday, as the long-awaited final building of the Pacific Design Center nears completion. The Red Building is the third building of the landmark West Hollywood showroom-and-office complex whose design and construction span nearly 40 years.
(Photo: http://photos.prnewswire.com/prnh/20110301/NE56547 )
At a topping-out ceremony, the architect joined developer and owner Charles S. Cohen to put in place a piece of red glass that completes the Red Building’s narrow triangular facade on San Vicente Boulevard. The 400,000-square-foot office building is slated for occupancy by year’s end.
“I am delighted to see the Red Building so close to fruition,” said Pelli, Senior Principal of Pelli Clarke Pelli Architects. “To know that the Pacific Design Center will soon be how I envisioned it is very exciting.”
Pelli conceived the 14-acre site to contain three buildings arranged around a plaza. The first, nicknamed the Blue Whale, was designed when Pelli was with Gruen Associates and completed in 1975. The Green Building, designed with his own firm, now Pelli Clarke Pelli Architects, followed in 1988.
The most dynamic of the three, the Red Building is composed of two curved, sloping towers atop seven levels of parking. Between the towers will be a courtyard planted with palm trees. The six-story West Tower slopes inward against the Hollywood Hills. The eight-story East Tower curves upward.
The ceremony also paid tribute to the “Los Angeles 12,” a group of Southern California architects featured in a 1976 exhibition at the Blue Building. Pelli, Roland Coate, Raymond Kappe, Daniel Dworsky, Craig Ellwood, Frank Gehry, John Lautner, Jerrold Lomax, Anthony Lumsden, Leroy Miller, James Pulliam and Bernard Zimmerman were in the original show. Eric Owen Moss and Michael Maltzan we also recognized at the ceremony.
About Pelli Clarke Pelli Architects
Founded in 1977 and led by Cesar Pelli, Fred Clarke, and Rafael Pelli, Pelli Clarke Pelli Architects has designed some of the world’s most recognizable buildings, including the World Financial Center in New York, the Petronas Towers in Kuala Lumpur, and the International Finance Centre in Hong Kong. The firm has been honored with critical acclaim and hundreds of design awards, including the American Institute of Architects’ Firm Award and the Aga Khan Award for Architecture.
SOURCE Pelli Clarke Pelli Architects
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Margaret O’Donoghue Castillo
Ms. Castillo is the new president of the American Institute of Architects New York, one of the oldest and largest A.I.A. chapters in the nation, with just under 5,000 members. She is also a principal at Helpern Architects, specializing in sustainable and historic preservation projects.
Photo Credit - Ozier Muhammad/The New York Times
Q The theme of your presidency is “design for change.”
A It has to do with sustainable urbanization, which is absolutely critical. With over half of the world’s population now living in cities, and that number expected to reach 70 percent by the next generation, how are our cities going to handle all of this?
Seventy-five to 80 percent of greenhouse gases are from buildings. Architects have a responsibility in knowing that figure.
Q What can architects do to make cities more sustainable?
A How you design the buildings influences energy usage and the way you orient a building — where you put windows, the type of overhangs, and whether you use daylight versus artificial light. Every material selected has an environmental implication.
We’re very happy with Mayor Bloomberg’s commitment to reducing greenhouse gas emissions through PlaNYC. The A.I.A. wants to go further: we want zero emissions.
Q Is that realistic?
A Well, I think you have to try. Imagine not needing fossil fuels, and the implications of not having to go abroad to get oil. It isn’t just extracting the fossil fuel, a limited resource, but it’s also the pollution caused by fossil fuels. You need to create buildings that use renewable resources.
Q What are some of the new materials being used or tested?
A We’re trying to encourage more interest in building science. People talk about phase change materials, like an insulation that changes from a liquid to a gas or solid. In New York, every square inch of buildings is so valuable. To just add, say, two feet of insulation is not going to work.
Q Will we see more LEED-certified buildings?
A They don’t always have to be LEED. Some, like the School Construction Authority, use the term “high performance.” They have their own guidelines.
Q Some of the smaller developers have complained that getting LEED certification is expensive.
A I don’t think it’s in the cost of the materials; it can be in the application process. LEED does have a lot of paperwork in terms of documenting where every single material comes from.
Now there’s the New York City Energy Conservation Code — as of last July — which sets energy-efficiency standards for new and existing buildings. The codes are changing so rapidly that they are going to acquire a certain amount of energy efficiency.
Q Do you have a favorite building?
A They’re all interesting for different reasons.
Q Or architect?
A Maybe McKim, Mead & White, after having worked at Low Memorial Library at Columbia and some Carnegie libraries. They’re magnificent buildings.
Q How is business at Helpern Architects?
A It has been slow over the last two years. It’s a little bit better.
Q What projects are you working on now?
A We’re working on a hotel — it’s to be rolled out in the next three weeks — and the Marble Collegiate Church, on Fifth Avenue and 29th, which is sort of a longstanding client. We’re doing a renovation there.
Q Your practice focuses largely on historic buildings.
A Some of the first projects that we did were up at Yale, on mansions. One of them was the Davies Mansion, which sat empty for 25 years. To turn that into the new center for globalization was both an interesting mission and a challenge, since the building was practically destroyed by fire.
Q What are your thoughts on the repurposing of the High Line?
A I think it’s a beautiful design. What’s great about the High Line, is the way it started off — with a competition. There was even the idea of turning it into lap lanes for swimming.
Q Can any other found space be creatively repurposed?
A I would like to see the space at Governors Island used. It is restricted — you can’t do housing, or a casino, but you could do restaurants, conference centers or parks. And there is a plan for a park from West 8 Urban Design & Landscape Architecture.
There’s so much history there, and there’s a tremendous opportunity with Fort Jay and Castle Williams to teach children about history. You feel like you’re a world away, with these old trees, the barracks and the houses.
Via NYT
[youtube=http://www.youtube.com/watch?v=7rLsS-JDJKE]
“Finally the Neues Museum is finished. The official handover of the building,newly restored by David Chipperfield,is to take place in early March. The museum,originally built in the mid-nineteenth century,has been in ruins since the end of the Second World War. Its rebuilding is the last of the restoration projects on the city’s Museum Island. ARTS.21 took an exclusive tour,accompanied by the architect and the head of the Prussian Cultural Heritage Foundation.
Hat tip to Architects Talk
Transitional spaces at stem cell building encourage ‘cross-pollination of ideas’
The Ray and Dagmar Dolby Regeneration Medicine Building at the University of California (UCSF) hosted a grand opening yesterday to celebrate the completion of a challenging construction project.
Designed by Rafael Vinoly Architects with executive architect the Smith Group and DPR Construction, the new facility will act as the headquarters for the Eli and Edythe Broad Center of Regeneration Medicine and Stem Cell Research, analysing complex scientific data at the earliest stages of human and animal development.
Located on a steeply sloping hillside, the site posed multiple challenges for the design team. A solution was found in the creation of a raised serpentine structure supported by steel space trusses springing from concrete piers, minimising space excavation and incorporating seismic base isolation to absorb earthquake forces.
The main laboratory area is arranged in four split levels set in stepped stages working in harmony with the sloped nature of the urban hillside. Each of these levels is topped with a cluster of offices and a green roof-space planted with wildflowers.
An external network of stairs and pedestrian bridges takes advantage of San Francisco’s temperate climate, with internal stairs and break rooms providing a base for the ‘cross-pollination of ideas’ among scientists. Interior glazing maximises visual connectivity while plentiful glazing on the south-facing side affords widespread views to the wooded slope of nearby Mount Sutro.
Rafael Vinoly Architects is currently pushing forward on two long-awaited projects in London, UK – work has now recommenced on 20 Fenchurch Street (the Walkie Talkie) and the £5.5bn redevelopment of Battersea Power Station has been approved by Wandsworth Council.
Hat Tip to World Architecture News
Karen Thomas
Karen Thomas worked for more than 20 years at architecture firms in New York, including Costas Kondylis and Beyer Blinder Belle, after graduating from Pennsylvania State University in 1988. But she eventually realized she would rather manage the construction of complex buildings than draw their blueprints. In 2007 she established her own firm, Karen Thomas Associates, an owner’s representative for high-end residential projects. Ms. Thomas, 45, lives in Greenwich Village with her husband, Ralph Gillis, an architect and former employer of hers, and their 9-year-old son, Henry.
Design gene: My family is from California, but I grew up in State College, Pa., where my dad was a college professor. It wasn’t an area rich in architectural examples; my schools were nondescript. Our house was modern and mostly designed by my mother. She went to school to be a costume designer and wound up becoming one of the first women to be an Episcopal priest.
Art plus math equals… My high school art teacher said I should be an architect because I loved math and art, and architecture combined them. Not exactly true. At my college there was a great emphasis on architectural philosophy and the idea that all design came out of philosophic notions.
Platonic Architecture 101? No Plato, more like Dante and Umberto Eco. But Penn State had a premier lighting design program, so I took a course in that, and also architectural engineering.
aren Thomas with another architect, Ted Klingensmith, at the work site for the educational center at the Rubin Museum of Art in Manhattan.
New York or bust: I came to New York City basically with not a penny in my pockets; I stayed on Long Island for a week with a friend’s parents while I looked for a job, and I found one at LCP, a firm that failed in the ’90s. They did commercial interiors.
Mixing it up: I worked for my future husband for five years on a nice mix of commercial and residential projects. Then I was with Costas Kondylis for two crazy years. He had a busy office and high-profile clients like Trump. An incredible opportunity, but at the time, it was like, “Here’s a 26-story building project, go do it,” and “Hey Karen, I know you’re working on two high-rises, but can you take on another?”
Sweating the details: Part of being with an architectural firm is having a lot of arguments with your respected colleagues about aesthetics. It got to where I didn’t enjoy it. Also, I didn’t like it that as an architect there were so many things you couldn’t control. You’ve got the zoning board, building codes, economics, permits and 88 community board meetings to worry about, but what I found out was I loved dealing with all that stuff, even the controversy.
Making it happen: I guess I’m totally a control freak. The work we do here, we let the architects and interior designers focus on the aesthetics and we do all the things they don’t want to; it provokes in me, frankly, more creativity than before. The architect designs the project and we make it happen. Everything has to be beautiful, but everything has to work perfectly. On a single house, there could be 20 consultants; it’s highly technical.
Personal projects: We gutted our apartment on 11th Street. I was up every night until 2 worrying over details. I’d call the aesthetic modern with a use of organic materials. Now we’re planning to tear down our little 1970s house in East Hampton Village and do something modern, low-maintenance and very, very sustainably designed. As an architect, you try to achieve perfection but never really can.
Via NYT
