Kengo Kuma & Associates have been tapped to design a new high-rise residential complex on Kutuzovsky Prospekt in Moscow, adjacent to the new business district of Moscow City. The project will be the first urban plan in Moscow to take the form of superstructures rather than individual buildings, and will be Kuma’s first project in the Russian Capital.
The 360,000 square meter complex will follow an open-courtyard concept where the elongated building structures will frame a wide promenade directing pedestrians through to the nearby Moscow River. Public and community social spaces will also be integrated throughout the project, along with an underground parking deck and small indoor garden.
On the outside, the building facades will be constructed from matte anodized aluminum to reflect sunlight and create “an effect of lightness and transparency.”
In an interview conducted by the Architectural Council of Moscow and included as part of a press release for the project, Kuma explained his inspiration for the site and his take on the current state of the architecture world:
Archcouncil:Why have you decided to work here? What are you interested in?
Kengo Kuma: The location of this project is very important for Moscow, because it’s near the MoscowRiver, which is the new center of activity in Moscow. The aim of the project is to combine the big boulevard and the riverside; and it can change dramatically the urban environment of the location.
A:The Moscow Government approved the unified urban development concept of the Moscow River’s adjacent territory. What challenges are development projects facing, which, like yours, will be implemented on the riverside? And what benefits can they bring to the city?
KK: In the XX century the riverside and city life were totally separated. On the riverside there were factories or warehouses — those houses block the river from the city. But in the XXI century people would like to enjoy the nature of the river. In Japan we also have the same program: the nature, a river or ocean, and a city have been separated by industrial buildings for a long time. In Europe people face the same problem — when buildings have broken the nature and the city.
Our project in Moscow is kind of a “gate” which connects the city and the river. This is an ideal project to combine the courtyard, various activities and the river. We’ve been working together to create this kind of new prototype which will connect nature and the city. It can be the new prototype not only for Moscow; it can be the new prototype for every city in this century.
A:What do you think about the trends that were demonstrated at the present Architectural Biennale in Venice: simplification of shapes, cost reduction, single use policy? What’s your forecast for the future?
KK: Now the relationship between society and architecture is changing, as society is very often critical to the cost of the building, and also the environment has become very important. In that new situation the architects should find a new way of creating their character; as still a strong character is very necessary for architectural design. But at the same time the cost, environment and global warming effect have become very-very important. And we should find the meeting point of these requirements.
A:Do you think that the competence of modern architect is changing?
KK: In the beginning of the XX century, the Russian architects tried to combine the technology of the XX century and the new design. Nowadays what we should do is to combine the environmental technology and architectural design; because we have many new technologies for ecology and for sustainability. But the architectural design and those technologies are totally separated. We should integrate those things together.
In this project we are designing the riverside; we even use simulation of wind flows to create the most comfortable environment. This work can be a good example of integrating the two kinds of technology.
Mayor Bill de Blasio and the New York City Public Design Commission have announced the winners of their 2016 Awards for Excellence in Design. Established in 1983, the award has been bestowed annually to projects from the city’s five boroughs that “exemplify how innovative and thoughtful design can provide New Yorkers with the best possible public spaces and services and engender a sense of civic pride.” Both built and unbuilt projects are considered for the award. Previous winners have included Studio Gang’s Fire Rescue 2 (2015), the Louis Kahn-designed Four Freedoms Park (2014), and Steven Holl’s Hunters Point Library (2011).
“These thoughtful and innovative designs support the de Blasio Administration’s commitment to providing quality, equitable, and resilient public spaces to all New Yorkers. By utilizing good design principles, these projects will provide the public with increased access to the waterfront, open spaces and parks; improved places for play and community gatherings; and inspiring artworks,” said Public Design Commission President and co-founding principal of Mathews Nielsen Landscape Architects Signe Nielsen.
Added Public Design Commission Executive Director Justin Moore: “Part of what makes our city great is the quality of our public realm and the creativity and ingenuity found in our design community and city agencies. These award-winning projects range from new technologies to improved neighborhood parks and public artwork. They show that design excellence is an important part of New York’s leadership in promoting innovation, sustainability, and equity in cities.”
Excellence in Design Winners
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40th Police Precinct / BIG + Starr Whitehouse. Image Courtesy of BIG
Located in the South Bronx, this new station house reinforces a commitment to serving the surrounding communities of Port Morris, Melrose, and Mott Haven while meeting the complex programmatic requirements of the New York City Police Department. The building’s unique form comprises stacked volumes that spiral around a central atrium, visually connecting interior spaces and bringing in daylight from a rooftop clerestory. The facade alternates between solid perimeter walls and glazed reentrant corners, providing security while also affording light and views.
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Waterfront Nature Walk / George Trakas + Quennell Rothschild & Partners. Image Courtesy of George Trakas and Quennell Rothschild & Partners
Waterfront Nature Walk / George Trakas + Quennell Rothschild & Partners
George Trakas’ Waterfront Nature Walk is located along Newtown Creek and Whale Creek, adjacent to the Newtown Creek Water Pollution Control Plant in Greenpoint. Envisioned as a critical component of the awarded master plan for the Department of Environmental Protection’s plant, the Waterfront Nature Walk revives a long-inaccessible industrial shoreline for public use as a waterfront promenade and kayak launch.
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Van Name Van Pelt Plaza/Richmond Terrace Wetlands / Department of Parks & Recreation In-House Design. Image Courtesy of NYC Parks
Van Name Van Pelt Plaza/Richmond Terrace Wetlands / Department of Parks & Recreation In-House Design
Nestled between the edge of a residential neighborhood and the working industrial waterfront of Staten Island’s north shore, this deteriorated site will be transformed into an attractive community asset with a pier that provides expansive views to the Kill van Kull and the Bayonne Bridge.
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Luminescence / Nobuho Nagasawa + Thomas Balsley Associates + Weiss/Manfredi Architects. Image Courtesy of Nobuho Nagasawa, Thomas Balsley, Weiss/Manfredi
Set within the curved landscape of the Hunters Point South Peninsula lawn along the East River, these seven sculptures are both beautiful and educational. A phosphorescent material integrated into the surface of each domed shape absorbs sunlight during the day and illuminates the phases of the moon at night with a soft blue glow. Placed at an overlook, the sculptures offer visitors the opportunity to contemplate the many influences of the moon – from its mystical and poetic powers to its physical gravitational pull on the river’s tidal rhythm.
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Dock 72 / S9 Architecture + MPFP. Image Courtesy of S9 Architecture and MPFP
Dock 72 embraces rapidly emerging technological and creative industries in Brooklyn with a work environment that encourages and enables hundreds of new and maturing creative startups to flourish. The building’s design celebrates the maritime and industrial history of the Brooklyn Navy Yard while providing 21st-century shared work spaces that allow tenants to contribute to the Yard’s renewed life as a growing industrial hub.
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The High Line Park Passage and Spur / James Corner Field Operations, Diller Scofidio + Renfro, Piet Oudolf. Image Courtesy of James Corner Field Operations, Diller Scofidio + Renfro, and Piet Oudolf
The last segments of the High Line to open to the public, the Passage and Spur will become the northern gateway to this internationally loved elevated promenade. The Passage weaves through Hudson Yards’ south tower, which cantilevers 60 feet above the High Line. To celebrate this cathedral-like space, the design remains open and minimal, with seating along the north edge and planting, social spaces, and balconies at the southern edge.
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Snug Harbor Cultural Center Music Hall Addition / Studio Joseph + SCAPE/Landscape Architecture. Image Courtesy of Studio Joseph and SCAPE
This understated yet elegant addition will provide critical support spaces for the Snug Harbor Music Hall, which was completed in 1892 and is the second oldest theater in New York City. The new structure is nested carefully between two of the original pilasters on the east facade of the historic building. Modest in scale, with one floor below grade, the design achieves a sense of presence through formal expression – deep overhangs at the entrances recall the portico of the Music Hall – and materials such as white board-formed textured concrete, glass, and steel.
The renovation of this under-utilized open space will establish a distinct gateway to the thriving hub of Hudson Square. The design derives its patterns and materiality from the area’s history as a printing district, while providing a variety of pathways, gathering areas, and seating to allow for diverse contemporary use of the site.
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Anti-idling Ambulance Pedestals / Ignacio Ciocchini + MOVE Systems. Image Courtesy of Ignacio Ciocchini and MOVE Systems
Anti-idling Ambulance Pedestals / Ignacio Ciocchini + MOVE Systems
Aligning with the sustainable goals of OneNYC, these anti-idling pedestals will reduce ambulance vehicle emissions without disrupting the Fire Department’s critical emergency operations. By plugging in to these curbside pedestals, EMTs can safely shut off their engines while keeping their communication systems live and temperature-sensitive medicines refrigerated.
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LinkNYC / CityBridge. Image Courtesy of CityBridge
LinkNYC / CityBridge
LinkNYC is a new telecommunications network replacing old payphones with Links that benefit the public – especially those of limited means – by offering free services such as high-speed Wi-Fi, mobile device charging, and a custom-built tablet that enables free telephone calls within the United States and provides access to City information and services in addition to wayfinding.
Special Recognition Award
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Parks Without Borders / Department of Parks & Recreation. Image Courtesy of NYC Parks
Parks Without Borders / Department of Parks & Recreation
Rooted in the idea that the design of the public realm – streets, sidewalks, and open spaces – should be cohesive and integrated, Parks Without Borders aims to improve the interface between New York Cityparks and their surrounding neighborhoods. As part of OneNYC, this initiative aims to make parks more welcoming, accessible, and active. Each design concept will begin at the park edge, with lowered fences and gates, wider and more porous entrances, and improved sightlines into the park.
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Community Parks Initiative / Departments of Parks & Recreation. Image Courtesy of NYC Parks
Community Parks Initiative / Departments of Parks & Recreation
Through the Community Parks Initiative (CPI), The Department of Parks & Recreation is strengthening New York City’s network of parks and public space in historically under-served, high-poverty, densely populated and growing neighborhoods. Part of OneNYC, this multi-faceted capital program reimagines the smaller public parks that people use every day.
To learn more about the award and see previous years’ winners, visit the Public Design Commission’s website, here.
“Designed by LMN Architects in partnership with executive architects Marmon Mok Architecture, the $150 million expansion and renovation project embrace the multi-faceted cultural identity of the city with a distinctive tapestry of form, materiality, light, and landscape” stated Mark Reddington, FAIA, lead designer and partner at LMN Architects.
Completed in 2014, the project incorporates a metallic veil that wraps program elements in programmable LED lighting, in order to create a variable play of light on the city’s skyline.
We drew inspiration for the architectural form and detailing from the Spanish Colonial style of the original 1926 Municipal Auditorium, as well as San Antonio’s rich vernacular of color, pattern, and public celebrations, said Mark Reddington, FAIA, lead designer and partner at LMN Architects.
The renovation additionally retained the Municipal Auditorium’s historic façade, while weaving a new 183,000-square-foot facility into the framework of the existing public space, including a 1,768-seat performance hall and a 231-seat flat floor studio theater.
The jury for the Award noted that “the Tobin Center for the Performing Arts brings a world-class, dynamic performance venue and gathering place to San Antonio while creating a vibrant connection between the city’s main cultural venue and the famed River Walk.”
The project is also the recipient of a 2016 Honor Award and a Mayor’s Choice Award from the San AntonioChapter of the AIA, a 2016 AIA Washington Council Civic Design Awards, Award of Merit, and a 2012 Chicago Athenaeum American Architecture Award.
After 21 years of playing in St. Louis, the Rams are moving back to Los Angeles — and a new stadium will greet them. Slated to open in 2019, HKS’s new LA Stadium will be the largest in the NFL (covering three acres) in addition to the home of the Los Angeles Rams. Beyond sports usage, the structure will also host a performing arts center and sweeping public gardens.
The regional climate and cultural DNA of Southern California and Los Angeles are the foundation of our design, said HKS Principal Mark A. Williams, AIA, LEED AP. We have crafted a design that is responsive to its site, the community and the global stage of sports and entertainment. We believe this project represents a very important piece of architecture for Southern California and will broaden the fan experience in sports and entertainment venues.
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Courtesy of HKS
After thorough research on the site’s climate, the architects created a design that adapts to its surrounding environment and provides a pleasant interior venue. The perforated metal skin that wraps around the stadium includes outdoor rooms and plaza spaces — blurring the line between inside and outside. Additionally, an ETFE (transparent roof skin that protects guests from the outside elements) canopy allows for year-round events.
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Courtesy of HKS
From day one, Mr. Kroenke talked to us about his vision to elevate the fan experience, continued Williams. He challenged us to create a venue unlike any other in sports that celebrated the NFL’s return to Los Angeles.
Furthermore, the venue will provide 70,000 fixed seats, with the option to entertain more than 100,000 fans. It will also host the Super Bowl in 2021.
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Courtesy of HKS
HKS, a global presence with a large repertoire, will be working with Kroenke Sports and Entertainment on this groundbreaking project. Stan Kroenke, owner and property developer of the Rams, is attributed with bringing the Rams back to Los Angeles.
As for the project’s estimated price tag? $2.6 billion.
Cannon Design has unveiled its proposal for a mixed-use Cancer Hospital in Rio de Janeiro, Brazil. Originally envisioned as a “private hospital serving patients that can afford a high quality of health care,” the project transformed into a partnership between the public and private sector after preliminary feasibility studies determined the price of the site to be prohibitively high.
Thus, the project expanded to become a mixed-use complex with ownership shared between socially minded city government and private investors.
The facility will include a cancer hospital, public parking, housing for low-income families, shops, gardens, and recreation, as well as an adult education center to provide training for hospital staff.
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Courtesy of Cannon Design
The cost of land and availability of suitable sites in the city demand a dense, vertically-organized complex. The building section shows how living quarters and public amenities are woven into the structure, never interfering with the hospital operations. Formally the center resembles the character of the city which is defined by the favelas perched on the hills, overlooking the city skyscrapers beneath explained the architects.
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Courtesy of Cannon Design
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Courtesy of Cannon Design
Construction for the center is currently on hold due to “economic conditions in Brazil,” but has not been canceled.
The project emphasises a consumerist and touristic view of art at the expense of the cultural and humane task of art. instead of strengthening local artistic traditions and practices, the project strengthens the already doubtful globalisation and commercialisation of art. The public funds could clearly be used in a more innovative and efficient manner to support Finnish artistic culture.
Pallasmaa’s criticism follows a recent suggestion by Finnish Member of Parliament and architect Anders Adlercreutz, alongside British architecture critic Jonathan Glancey, that a second competition should be held for a new design on a different site. They have said that Moreau Kusunoki Architects’ winning proposal is the “wrong building for the wrong site,” reports the AJ.
Location: Вld.6, blocks 1-6, Rossiysky Avenue, St.Petersburg Project Year: 2013 Construction Year: 2016 Project Status: built Customer: «SKA Hockey Club» Closed Joint-Stock Company
Awards: – Silver Diploma of the “Architecton -2016” architectural review-competition (nomination “Built objects”)
– Silver Diploma of the “Golden Capital 2014” architectural rating (for the facades project)
– Silver Diploma of the “Golden Capital 2015” architectural rating (for the interiors project)
The Sports Complex is a fixed-site hockey center of the SKA sports club.
The building is designed in simple orthogonal volumes. The sports building architectural image is created by the artistic design of the facade surface and formation of the window/stained-glass openings: the system of the slope direct lines of the windows and stained-glass windows’ reveals, their intersection — add dynamics to the static volume of the building. Ceramic granite white colour and it’s surface finish create associative bond with the ice arena.
The building volumetric and planning solution is determined by it’s main functional purpose — covered sports arena meant for the hockey training and home competitions. It is also made in accordance with the surrounding buildings mainly presented by orthogonal form residential houses.
For the training process organization the project’s solutions provide for the following objects: ice fields of “European standard”, one of each is meant for 1000 places, hockey training center, fitness gyms, strength training gym, multi-purpose sports hall.
The following objects are also included into the complex: medical rehabilitation center, SKA hockey club museum, conference-hall, hotel for 140 places, SPA-complex, boarding school for the sports school trainees, restaurant, café, administrative & office block, utility rooms.
Open flatwork includes the following objects: small football field, basketball field, tennis court, mono-module — multi purpose ground for skateboarding and roller- skates,run track, open parking lots, landscaping, children playgrounds, gas boiler house and stabilized grass lawn for temporary helicopter landing site.
Plot total area – 76 742.0 sq.m Coverage – 16700.0 sq.m Complex total area — 34750.0 sq.m Constructional volume — 251681.0 cu. m
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Status: Built Location: Saint Petersburg, RU My Role: Sergey Oreshkin – Project Manager
18 June 2015: Denmark has a new right wing government. A couple of months later, despite student protests in front of city hall, the new government declares a decision to cut 8.7 billion Danish kroner (over $1.2 billion US) from education in Denmark, effectively cutting nearly 30 million kroner (around $4 million US) from the Danish Royal Academy of Fine Arts Schools of Architecture, Design and Conservation (KADK).
The result? 31 employees have been laid off this month; the student body is to be reduced by 30% over the coming years; 4 masters courses in architecture are being discontinued within the next 4 years; and 6 bachelor programs, 7 special programs and one entire institute in the Design School are being terminated. Teaching is being refocused towards technology and the professional sphere, but will this really improve the prospects of fresh architecture graduates, as they claim? Is it more important to challenge, or to adapt?
These changes in architectural education are being titled “A New Focused KADK; A plan of action to secure more graduates jobs, faster.” This is the brief, the challenge, being set by the Danish government in a country where education, including the 5 years necessary to become an architect, is free for all. However, the unemployment rate of designers and architects in Denmark was double the average of all other graduates of higher education between 2008 and 2012.[1] Is there a consensus in the government that Denmark is not getting value for money when it comes to architecture graduates? Does this skepticism extend beyond this small Scandinavian nation? Are we simply doing it wrong?
One of the major changes awaiting the architecture school is a mandatory internship over one semester, cutting out the option of an exchange during one’s Bachelor period. Anne Romme, Head of the Bachelor Program at the Institute of Culture at KADK, says that this decision “is probably a good one.” She continues to explain: “One could also discuss the question, because it directly cuts away a very fruitful and valuable semester out of a ten semester education; but if we do it in the right way, I think it can become a good thing that opens up our minds and sends students out to all corners of the profession and the world, and brings back new impressions. I think it’s probably going to be a very positive thing, we just have to do it in the right way.”
The vocational direction that the school is taking is an attempt to answer to the demands placed by the government. The possible advantages that await are obvious: higher employment rates, and architects that are better prepared for a life in the profession. On the other hand, the architectural discipline could begin to go down a less desired path.
“It’s very important to remember this balance between educating people directly for the profession, as if it was a kind of conveyor belt where we spit out people who hopefully fit into the ‘sharper,’ ‘better,’ front running part of the profession, but also our role in pushing the profession to new places,” says Romme. “It’s a balance. Architecture is a profession, but it’s certainly also a discipline, which is much more grounded in long-term questions and proposals. It’s not so concerned with which computer program is the ‘hottest’ right now… or what the big architecture firms in Denmark need right now; we need to tell them what they need.”
It’s undeniable that this change in Denmark’s most well known architecture school, the starting point for many well-known architects such as Bjarke Ingels and Henning Larsen, will affect the evolution of the entire architecture discipline in Denmark; and who knows what it could do to the profession beyond Danish borders? Will it dampen exploration, in favor of safety?
Young architecture students have responded to the Administration’s decisions with critical retaliation, albeit with minimal success. Yet Romme is positive: “There’s a lot of disagreement in the school whether this is the right decision, but luckily enough that’s good for schools: disagreement.” Hopefully this process will give birth to greater architects than ever. We’ll have to wait and see.
Rendering of “The Shed” arts center, designed by Diller Scofidio + Renfro and the Rockwell Group. Image credit: Rockwell Group, via globalconstructionreview.com.
[Dubbed “The Shed”,] The 18,500 square metre venue has six storeys and can “accommodate the broadest range of performance, visual art, music, and multi-disciplinary work”. A cultural centre will be encased in a 34m-high outer shell that can slide on rails to double the ground space. The building includes two large-scale column-free galleries comprising 2,320 square metres of museum-quality space, a 500-seat theater and event and rehearsal spaces. [Completion is due] in 2019. — globalconstructionreview.com
From the architect. In December 2007, along with ve other architectural firms, OMA was invited by Chels eld deputy chairman Sir Stuart Lipton to consider the potential of the Commonwealth Institute site. OMA’s proposal sought to save the grade II* listed building by reinjecting life into the modernist monument, the new home for London’s Design Museum, while retaining its distinctive copper roof and parabolic form. OMA with Allies and Morrison were the architects responsible for the design of the refurbished structural shell and external envelope of the building. The project required a close working relationship with Design Museum interior architects, John Pawson.
Significant and complex refurbishment works were carried out, including the wholesale reconfiguration of the structure and basement excavation to increase floor area and organisational efficiency to suit the needs of the Design Museum, while balancing the retention of the dramatic views to the underside as agreed with heritage officers. The refurbishment was realized while retaining the renowned parabolic copper roof in-situ, which required significant engineering skill from Arup and the contractor, Mace.
The facades have been completely replaced to fulfill contemporary technical building standards. The glazing was redesigned and replaced to retain the pattern of the fenestration and the blue-glass appearance of the original RHWL building. This new system permits controlled daylight into and views out of future museum spaces. Original stained glass panels were removed, refurbished and reinstated to be enjoyed by future visitors to the Museum.
The setting of the Design Museum has been designed with landscape architects West 8. Original features of the Commonwealth Institute have been painstakingly researched and reinterpreted back into the contemporary design with significant trees retained along the edge of Holland Park and Kensington High Street.
The Commonwealth Institute refurbishment project has been realized as an essential part of the adjacent Holland Green development by Chels eld LLP and Ilchester Estates, a striking arrangement of three stone cubes that respond to the geometry and grid of the retained museum building, providing 54 residential apartments placed within a highly sensitive urban / park context and also designed by OMA and Allies and Morrison.
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Archy Naija 