![]() Aislinn Weidele
![]() Aislinn Weidele From the architect. Over seven years in the making, the EERC defines anewapproach toengineering education through the integration of undergraduate project-based learning and interdisciplinary graduate research, with state-of-the-art classrooms, large-scale labs, and maker spaces. ![]() Aislinn Weidele It includes the 23,000 square footNational Instruments Student Project Center,designed to place the most advanced tools in engineering research into the hands of undergraduates, theJames J. and Miriam B. Mulva Auditorium and Conference Center, the Cockrell School's largest event space, theTexas Instruments teaching and project labs,and theCenter for Innovation, the school's first space dedicated to entrepreneurship and moving revolutionary ideas to market at a faster rate. ![]() Section The building's design, centered around the idea ofTransparency and Unification,defines a new paradigm for engineering education and research through the integration of undergraduate project-based learning, interdisciplinary graduate research, and a Center for Innovation focused on entrepreneurship. Given the school's strategic and programmatic needs, the building is organized into twonine-story limestone and glasstowers,acknowledging thesubstantially different requirements for labs, offices, and workspacesofthe Department of Electrical and Computer Engineeringand interdisciplinary graduateresearch. ![]() Aislinn Weidele The two towers, withinwardly-oriented glass curtain wall facades,are connected by an enclosedthree-story atrium with a folded glass and steel roof, creating a vibrant, light-filled public space, which is the social heart of the building meant tofacilitate productive collisions between faculty, staff, students and campus visitors. ![]() Aislinn Weidele Bridges and staircases create circulation paths throughout and join the different research environments. Prominently visible through floor-to-ceiling glass along the north wall of the atrium is the National Instruments Student ProjectCenter,dedicated to project-based interdisciplinary learning.Itshonest expression of raw concrete, fully exposed mechanical systems and glass walls from room to roomputsengineering,and engineering education, onfull display. ![]() Aislinn Weidele Architectural gestures throughout the building weredesignedto elevate and celebrate engineering principles from the steel trusssystems spanning the towersto the intricate spiral staircase, from thedelicateV column underneath the staircase to the sky bridges connecting the floors. ![]() Courtesy of Ennead Architects
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![]() Gidon levin
![]() Gidon levin The Building The building is located in Jaffa city in a neighborhood full of old eclectic Arabic style houses. This area of Jaffa is in a midst of a rapid urban renewal process. We believe it is a great opportunity and honor for us to take part in this fascinating urban transformation. ![]() Gidon levin As the architects of the building we felt it was important to keep the special atmosphere of the existing local urban environment, while introducing simultaneously a modern design, using materials that are new for this particular area. ![]() Section The building has 2 residential parts with 8 apartments (each one in a different size and scale designed for a diverse population). In the middle of the building are spaces where the tenants can meet and mingle, next to an open area intended for circulation and air currents. ![]() Gidon levin The main faade element is the Mashrabiya which is typical traditional Arabic concept that was made to provide shade, air, light, and a gentle buffer between interior and exterior. One of the main goals of the plan was to design a Mashrabiya that preserves the typical street facades continuity whilst maintaining the privacy of the residents. While Mashrabiya is traditional built of concrete or clay, we designed a steel Mashrabiya from horizontal steel beams and fillings of perforated metal. We decided to use steel, which is not the obvious choice, because it represents the dialog between the historical and contemporary architecture. ![]() Gidon levin The Apartment The apartment is located in Jaffa in the part of a neighborhood with many old eclectic Arabic style houses that is experiencing a rapid urban renewal. The building that contains this apartment is part of this fascinating process. The high ceiling (5 meters high) is typical of the traditional housing in the area and was retained as the main architectonic principle of the new design. ![]() Gidon levin At the request of the owner, the interior was designed with the basic premise to house the art collection in his possession: High empty walls were used as a natural place for the art to be displayed, the concrete floor and ceiling and the white walls providing all together the prefect background. Thus, all the structure in the apartment can be used as art display- even the concrete floor. There are molds imprinted in various parts of the concrete floor which can be used for displaying works of art which can be replaced by other works from time to time ![]() Gidon levin One of the main interior design principle was to create one long space with minimal number of divisions, giving the viewer ample room to survey the work of art. A small backyard entrance paved with concrete surrounded with high walls provides a marked contrast between Pushkin Street outside, and the quite, serene privacy of the art milieu inside. ![]() Gidon levin ![]() Charlie Kinross
![]() Charlie Kinross From the architect. The vibrant watering hole at the heart of Greame Base's classic children's book 'The Waterhole' has inspired the venue fit-out for new bar Hightail. Designed by Techn Architecture + Interior Design, the venue playfully references the concept of 'the wateringhole' as both a feature of the natural landscape and to the old colloquial term for a public bar. ![]() Charlie Kinross The expansive 1052 square meter site has been transformed into an immersive large-scale venue, housing a number of zones and two bars. Located in the centre of Melbourne's urban jungle Docklands, Hightail will provide nearby workers with an oasis of fun at the corporate location. ![]() Floor Plan We wanted to create a destination venue for the western end of Collins Street that would balance refinement with a tongue-in-cheek attitude, says Techn director Nick Travers. Much like a waterhole, the floor ripples out from the main bars in patterned waves. Above the bars, a gently undulating ceiling mimics the shapes created by the floor finishes to bring added dimension to the space. ![]() Charlie Kinross The space is a journey through texture, colour and form, creating a fun and unique experience for those working in the area, says Travers. We were able to temper the size of the site through design to create an intimate and immersive environment full of excitement. ![]() Charlie Kinross Sculptural forms throughout the venue such as stalactite-like ceiling structures and large timber clad structures that run from floor to ceiling minimise sight lines to create a more intimate atmosphere. Various zones within the tenancy have been designed to appeal to a diverse audience, encouraging patrons to explore the venue and unwind in their own space. ![]() Charlie Kinross Two complimentary bars were envisioned for the space, a robust beer bar finished in concrete, cork and copper; and a more intimate wine bar adorned with brass, terracotta tiling, deep blue carpet and natural timber. A highly saturated colour palette comprising nearly every hue of the rainbow is a spirited touch that practically serves to define the venue's many zones. ![]() Charlie Kinross Taking cues from Graeme Base's lush illustrations, murals and rich layers of colour and texture bring an element of intrigue and tactility to the space. For its natural warmth, timber provided the basis of the material palette and appears in natural finishes and stained in hues of blues and greens reminiscent of water. The concept of the waterhole remained a key touch point throughout the design process, says Travers. ![]() Charlie Kinross ![]() Steve Hall This article was originally published on theblogof theChicago Architecture Biennial, the largest platform for contemporary architecture in North America. The 2017 Biennial, entitledMake New History, will be free and open to the public between September 16, 2017 and January 6, 2018. The Tribune Tower has stood at the heart of Chicago's cultural heritage for almost a hundred years. Like the spire of a secular cathedral, it still symbolizes the rise of the city of big shoulders and its defining role in the American Century. But the building is more than a Chicago icon. The story of its origin has proved to be one of the most enduringly influential narratives in 20th Century architecture, key to understanding the skylines of cities all over the world. ![]() A groundbreaking skyscraper was the highest ambition of Colonel Robert R. McCormick, the powerful publisher of the Chicago Tribune and a man who dominated local politics before the First World War. Hoping to project an aura of international prestige for his burgeoning media empire, the competition brief he compiled asked architects to create the most beautiful office building in the world. More than 260 architects from 23 countries responded with designs in a dizzying range of styles. Some entries stretched the office tower's vertical structure into extended Gothic arches with delicate tracery, while others segmented the facade into Neoclassical orders with stepped porticoes and colonnaded temples for crowns. Forward-thinking architects submitted sleeker designs modeled on factory architecture, Chicago's existing masterpieces, or the angular ornamental motifs that would later be known as Art Deco. Some reduced the building to a single symbol; an arch, an obelisk, a giant Native American figure, or even an enormous billboard spelling out the headlines of the day. ![]() For nearly a century, Chicago's Tribune Tower has stood at the heart of the city's cultural heritage. Image Courtesy of Chicago Architecture Biennial Blog (Consortia) The winners, Raymond Hood and John Mead Howells, proposed the Gothic tower that now graces the corner of Michigan Avenue north of the Chicago River. Their design balanced the vertical spirit of US commerce with Gothic flourishes from French tradition including a dramatically buttressed crown borrowed from the 13th Century Cathedral in Rouen. While major international competitions may be a familiar sight in the architectural sphere today, the Tribune Tower competition was unique for its global influence on the future of the field. Audiences could compare and evaluate starkly contrasting ideas from the world's foremost architects at a glance; the results-published widely-produced a ripple effect which influenced different schools of thought competing to define the look of the Modern Age. ![]() Some of the more radical proposals for the Tribune Tower by Walter Gropius and Adolf Meyer; Max Taut; Adolf Loos; and Bruno Taut, Walter Gunther, and Kurz Schutz. Image Courtesy of Chicago Architecture Biennial Blog (Consortia) Not only did echoes of the design of the winning skyscraper appear throughout the pre-war period, but several other entries resonated with later generations. Eliel Saarinen's design, a runner up, heavily influenced several North American skyscrapers built as late as the 1990s. A tongue-in-cheek proposal by Austrian architect Adolf Loos to turn the building into an enormous Doric column, playing on the columns that compose a newspaper, went on to inspire Postmodernist architects with its readymade look and its playful engagement with language. Architects have remained so obsessed with the ideas of the unbuilt Tribune Towers that reimagining the competition has become something of a tradition in its own right. In 1980, the Chicago architect and Postmodern provocateur Stanley Tigerman organized a winking do-over of the original contest. In a volume called Late Entries to the Chicago Tribune Tower Competition, he published the original designs alongside new drawings by the likes of Frank Gehry, Alison and Peter Smithson, Bernard Tschumi, and Tadao Ando. ![]() The late entries included fantastical designs by Helmut Jahn, Judith Di Maio, Arquitectonica, and Robert A.M. Stern. Image Courtesy of Chicago Architecture Biennial Blog (Consortia) Some of these designs drew directly on the older source material, like Arquitectonica's red, white and blue obelisk. Others riffed on the metaphors encoded in the statues, temples, signs and columns that topped earlier designs, replacing them with baby bottles, globes, trees, White Sox uniforms, and giant newspaper pages. The book even featured a number of architects who would go on to shape the Chicago skyline in vastly different ways: Helmut Jahn, the designer of the Thompson Center, submitted a geometric tower that floated impossibly above the original building. Tod Williams and Billie Tsien contributed a craggy volume perched atop four enormous boulders prefiguring their monolithic designs for the Logan Center at the University of Chicago (completed in 2012) and the forthcoming Obama Library and Presidential Center. The late entries may have been offbeat, but Tigerman's goal was to take the temperature of the architecture field during a moment of radical change. Just as Gothic ornament and Bauhaus modernism brushed cheeks during the 1922 competition, these represented a cross-section of contrasting ideas from some of the most radical thinkers of the late 20th Century. Some of the more opinionated entries came from thinkers whose drawings would motivate new generations of architects to think in new ways about history, tradition, and form. Others would go on to design real skyscrapers that imprinted the visions developed in the contest on the skylines of US cities. ![]() Eliel Saarinen's 1922 design at left, with views of the Wells Fargo Center, Bank of America Corporate Tower, and 180 W. Madison Street, all designed by Csar Pelli. Image Courtesy of Chicago Architecture Biennial Blog (Consortia) Argentinian-American architect Csar Pelli, who would become one of the world's most prolific skyscraper designers, incorporated Postmodern rooflines and decorative elements into buildings like Cleveland's Key Tower and the Carnegie Hall Tower in New York, but he also built several skyscrapers with the classic step-backs and rectangular proportions of Saarinen's snubbed design like the Wells Fargo Center in Minneapolis (1988) and the Bank of America Corporate Center in Charlotte (1992), as well as Chicago's 180 W. Madison Street (1990). The 2017 Biennial in Chicago, entitled Make New History, follows in Stanley Tigerman's footsteps by introducing a new generation of Tribune Towers that explore the competition's complicated afterlife and connect the groundbreaking dreams of the past with the most pressing issues of today. Artistic Directors Sharon Johnston and Mark Lee have asked emerging practices from around the world to turn one of the Chicago Cultural Center's grandest spaces into the Vertical City display: a lofty grid of imaginative towers representing a new generation of late entries. ![]() A reconstruction of Loos' proposal (center) accompanies new towers by an international group of young architects. Courtesy of Chicago Architecture Biennial. Image Steve Hall Two rejected designs from 1922 serve as contrasting points of departure. One is Loos' Doric column, which proved a touchstone for Postmodernists who looked to both metaphor and historical motifs for inspiration. The other is a never-submitted Modernist design by Ludwig Hilbersheimer, which only exists in the form of one perspective drawing opening up questions about how architects reinterpret visions from the past in the absence of documentation. The new towers are created by an international group of young architects: 6A Architects, Barbas Lopes, Christ & Gantenbein, Ensamble Studio, Eric Lapierre, Barozzi Veiga, Go Hasegawa, Kr Architecture, Kuehn Malvezzi, MOS, OFFICE Kersten Geers David Van Severen, PRODUCTORA, Sam Jacob Studio, Sergison Bates, Serie Architects, and Tatiana Bilbao. ![]() From left, designs by OFFICE Kersten Geers David van Severen, ric Lapierre, Sam jacob Studio, PRODUCTORA, Tatiana Bilbao, Kr Architecture, and Ensamble Studio. Courtesy of Chicago Architecture Biennial. Image Steve Hall Some designs take stylistic pastiche to new heights, while others question what Loos' column would look like with different references and different materials. Many rethink what a skyscraper can do to accommodate new types of work and play in the twenty-first century, from the sharing economy to alternative ownership models. Digital collage, new forms of physical craft, adaptive reuse, historical anecdotes, innovative building technologies, and cultural critique are all vividly on display. Taken together, the new models comment on the ways that ideas in architecture circulate between past and present as much as between architects themselves and how exhibitions take on lives of their own as they make history for centuries to come. Leo Shaw is a strategist at Consortia.The 2017Chicago Architecture Biennialblog is edited in partnership withConsortia, a creative office developing new frameworks for communication who areediting the Biennialblog.This article also features embedded content fromAre.na, anonline platform for connecting ideas and building knowledge.
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AuthorHis current project is a modern, yacht-inspired 15,000 square foot home to be built on Lido Beach, Sarasota. It will be a marvel of curvaceous, geometric precision. Mr. Stanbury is the founder of J. Stanbury Design Inc. in Lakewood Ranch, Florida. Archives
November 2017
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