American Works of Sir Norman Foster

The American Works of Sir Norman Foster

By: Nicholas A.Vincent II

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Table Of Contents: Joslyn Art Museum Addition Omaha, NE (1992-1994)

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Clinical Research Center, Stanford University Palo Alto, CA (1995-2000)

6-7 James H Clark Center, Stanford University Palo Alto, CA (1999-2003)

8-9 Hearst Tower New York City, NY (2000-2006)

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Apple Park Cupertino,CA (2009-2018)

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Photo citations

Text citations

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Joslyn Art Museum Addition (1992-1994) Omaha, NE

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Clad in matching pink Etowah Fleuri marble from the Georgian quarry that supplied the original building, the new wing adopts a solid, unarticulated form with similar proportions to the existing museum. Linking the new and old wings, and set back from both, a glass atrium forms a new social space, providing restaurant facilities and a secondary public entrance. On the main level of the new wing are temporary exhibition galleries, lit from above by indirect, controlled daylight. The floor below comprises storage vaults, workshops, cloakrooms, a kitchen and a restaurant servery. At the front of the museum, the original access road and car park were reinstated to reinforce the principal axis and encourage use of the primary entrance. In front of the building there is space for an open-air amphitheatre a venue for summer concerts which would broaden the range of the Joslyn’s activities.

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This expansion added seven additional galleries, with over 14,000 square feet of spectacular space for special exhibitions and the Museum’s collection of modern and contemporary art. Featuring sweeping, vaulted ceilings that reach 27 feet at some points, these galleries are illuminated by fluorescent lights as well as controllable natural lighting provided by two skylights, running from the east to west end of the galleries on the north and south sides.

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2: Rendering of exterior of the Joslyn Art Museum (Norman Foster, Norman Foster, and David Jenkins.,2002) 3: Exterior photo of the museum after addition completion (Norman Foster, Norman Foster, and David Jenkins.,2002) 4: Interior photo of the gallery space in addition (Norman Foster, Norman Foster, and David Jenkins.,2002) 30: Sketch of door handle designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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The 6,000-square-foot Atrium, located between and parallet to the two buildings and within the Scott Pavilion, reaches 45 feet high, 30 feet wide, and 200 feet long. Encased in glass, it serves as a magnificent link from the original building to the new marble structure. The floor of the atrium is opulent Verde Lavras (gray-green) granite. Seating for the cafe is located at the west end of the atrium. A 1,600-square-foot bridge, also finished in the gray-green stone, connects the main floor of the original building to the main floor of the Foster-designed addition and overlooks the expansive glass-enclosed space as well as the outdoor Sculpture

Peter

Kiewit

Garden.

In

Foundation 2000,

Dale

Chihuly’s monumental glass sculpture, Chihuly: Inside & Out, was added to the east side of the bridge as the first commissioned artwork in the atrium

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5: Exterior photo of the atrium (Norman Foster, Norman Foster, and David Jenkins.,2002) 6: Interior photo of the atrium(www.foster+partners.com,josyln art museum addition,2020) 31: Sketch of sink designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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Clinical Research Center, Stanford University Palo Alto, CA (1995-2000) 7

The Stanford School of Medicine’s Center for Clinical Sciences Research is a four-story, 225,000 square foot state-of-the-art research facility. The building includes nearly 97,000 square feet of clinical lab and space for such uses as tissue culture analysis, microscopy, human anatomy research, and temperature-sensitive processes.

In addition, over 50,000 square feet of faculty offices and seminar space looks out onto the interior courtyard.

The project is designed with two wings separated by a 20,500 square foot courtyard. Pedestrian bridges connect the wings at each level.The entire project, including the courtyard, is covered horizontally by a sun shade made up of thousands of sections of closely spaced tube steel.

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7: Floor plan of Clinical Research Center (Norman Foster, Norman Foster, and David Jenkins.,2002) 8: Exterior photo from the courtyard (Norman Foster, Norman Foster, and David Jenkins.,2002) 32: Sketch of toilet designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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Two symmetrical wings frame a shaded courtyard, which provides a comfortable environment for social interaction and has become both the social heart of the building and a popular route through the campus. Offices overlook the courtyard and a stand of bamboo provides occupants with a degree of privacy. Environmental systems take advantage of Palo Alto’s benign climate.

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Offices are naturally ventilated for most of the year, with mechanical assistance only on extremely hot days; and the laboratory and office spaces are predominantly naturally lit. Seismic performance was a key concern: the campus lies close to the San Andreas Fault and the laboratories contain highly sensitive equipment. In response, the building employs a concrete shear-wall structural system and bridges spanning the courtyard rely on friction pendulum bearings to allow for seismic movement between the wings.

9: Exterior photo of windows that face the courtyard (Norman Foster, Norman Foster, and David Jenkins.,2002) 10: Perspective drawing of the courtyard facing windows (Norman Foster, Norman Foster, and David Jenkins.,2002) 33: Sketch of faucet designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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James H Clark Center, Stanford University Palo Alto, CA (1999-2003) 11

The Clark Center continues the practice’s investigations into the physical nature of the research environment, which began at Stanford with the Center for Clinical Science Research (CCSR). The CCSR reflected changes then taking root in research methodology and was designed to facilitate an inter-disciplinary approach and promote interaction between scientists. The Clark Center takes this formula a stage further, driven by the pioneering Bio-X programme, which has remodelled the landscape of science and technological research at Stanford. It is a building in which social encounters and impromptu conversations are regarded as integral to scientific endeavour.

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11: Exterior ground level photo of the Clark Center courtyard (Luis Fernández-Galiano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 12: Section drawing of Clark Center (Norman Foster, Norman Foster, and David Jenkins.,2002) 34: Sketch of chair designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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Providing laboratory, office and social spaces for 700 academics from the Schools of Humanities and Sciences, Engineering and Medicine, the Clark Center is strategically located on the campus between the core science and engineering buildings and the medical centre. It acts as a social magnet for the university, encouraging students, lecturers and researchers from diverse disciplines to mix. In contrast to the traditional laboratory facility with its closed rooms and corridors, the Clark Center is open and flexible: external balconies replace internal corridors and laboratory layouts can be reconfigured at will.

All benches and desks are on wheels and can be moved to allow team formations in response to fast-evolving research needs. This versatility is further enhanced by workstations that plug into an overhead system of exposed services with flexible connections.

Externally, the building takes the form of three wings of laboratories that frame an open courtyard. Overlooked by balconies, the forum at the heart of the courtyard is used for exhibitions, concerts and other events.

13: Sketches of the Clark Center in perspective and in roof plan (Norman Foster, Norman Foster, and David Jenkins.,2002) 14: Perspective sketch of Clark Center (Norman Foster, Norman Foster, and David Jenkins.,2002) 35: Sketch of chair designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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Hearst Tower New York City, NY (2000-2006)

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Hearst commissioned a six-storey Art Deco block on Eighth Avenue, anticipating that it would eventually form the base for a tower, though no such scheme was ever advanced. Echoing an approach developed in the Reichstag and the Great Court at the British Museum, the challenge in designing such a tower at seventy years remove was to establish a creative dialogue between old and new.

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The new tower rises above the old building to a height of forty-four-stories, linked on the outside by a skirt of glazing that encourages an impression of the tower floating weightlessly above the base.

Structurally, the tower has a triangulated ‘diagrid’ form - a highly efficient solution that uses 20 per cent less steel than a conventionally framed structure.

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16: Section of Hearst Tower (www.foster+partners.com,Hearst Tower,2020) 17: Exterior photo looking up Hearst Tower from ground level (www.archdaily.com, Flashback: Hearst Tower / Foster Partners,2012) 18: Exterior photo of Hearst Tower from street (www.archdaily.com, “Flashback: Hearst Tower / Foster Partners,2012) 36: Sketch of table designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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With the corners cut back between the diagonals, it creates a distinctive facetted silhouette on the Manhattan skyline. At the base of the tower, the main spatial event is a lobby that occupies the entire floor plate of the old building and rises up through six floors.

Like a bustling town square, this dramatic space provides access to all parts of the building. It incorporates the main elevator lobby, the Hearst staff cafeteria and auditorium, and mezzanine levels for meetings and special functions.

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19: North elevation of Hearst Tower (www.foster+partners.com,Hearst Tower,2020) 20: Interior photo looking out skylights in Hearst Tower lobby (www.archdaily.com, “Flashback: Hearst Tower / Foster Partners,2012) 21: Model of Hearst Tower base (www.archdaily.com, “Flashback: Hearst Tower / Foster Partners,2012) 37: Sketch of chair designed

by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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Apple Park Cupertino,CA (2009-2018) 22

Apple Park places people at its heart, creating an ideal workplace for continued creativity, innovation and wellbeing.

The campus is Californian in spirit: open and connected to nature and the product of a remarkable collaboration. Its landscape and buildings form a seamless whole: the Ring Building, Steve Jobs Theater, Fitness & Wellness Center, Visitors’ Center and South Parking are all encompassed by flowing parkland that enhances the buildings as places to socialise, exercise and work. Flexible and forward-looking, the architecture sits low amid tall trees, draws its energy from the sun and brings the invigorating views and fresh air from the park through its glass facades. Inspired by all of Apple’s endeavours, it has been designed with a deep care towards the environment as well as the company and its staff. The campus is powered by 100 per cent renewable energy, and is the largest LEED Platinum-certified office building in North America. The 71-hectare (175-acre) site was previously dominated by impervious surfaces. Today, the green space has been increased from 20 to 80 per cent, with over

six

kilometres

(four

miles) of walking and jogging trails. There are now over 9,000 trees on site, including indigenous oaks and orchards, as well as meadows, sports fields, terraces and a pond.

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22: Rendered photo of Apple Park (Luis Fernández-Galiano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 23: Drawing showing site before demolition of previous buildings were demolished (Luis FernándezGaliano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 24: Drawing showing site after completion of Apple Park (Luis Fernández-Galiano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 38: Sketch of van designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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The simple form of the Ring Building conceals immense expertise and innovation. It comprises a few core elements: communal ‘pod’ spaces for collaboration, private office spaces for concentrated work, and broad, glazed perimeter walkways – featuring the largest sheets of curved glass ever constructed – that allow uninterrupted connection to the landscape. One of the most advanced precast concrete structures in the world, over 4,000 slabs, which span up to 15 metres (48 feet), make up the Ring’s floors. Known as ‘void slabs’, these multi-use elements form the structure and exposed ceiling, incorporate radiant heating and cooling and provide air return. At the eight cardinal axis points, full-height atria create light-filled entrance commons: social spaces that connect the park to the garden space within. Breaking this rhythm, the Restaurant – a campus town square – occupies the Ring’s entire north-east axis. Its quadruple-height dining hall and outdoor terraces encourage interaction. Most impressively, the Restaurant’s north-eastern facade can slide quietly away. Huge doors of glass, 15 metres (50 feet) high and 55 metres (180 feet) wide, roll effortlessly on tracks beneath the floor. They are the biggest of their kind ever constructed, and enhance the sense of landscape sweeping through the building.

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25: Exterior photo of Apple Park (Luis Fernández-Galiano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 26: Exterior photo of the exterior wall (Luis Fernández-Galiano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 27: Rendering of the green space on the site after completeion of Apple Park (Luis Fernández-Galiano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 28: Rendering of the green space on site from previous buildings (Luis Fernández-Galiano, Norman Foster : common futures Madrid: Arquitectura Viva, 2017) 39: Sketch of sailboat designed by Norman Foster (Norman Foster, Norman Foster, and David Jenkins.,2002)

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Photo Citations: 2) Foster, Norman, Norman Foster, and David Jenkins. 2002. Works Munich ;: Prestel.

1) FernándezGaliano, Luis, and Norman Foster. 2017.

Norman Foster : common futures Madrid: Arquitectura Viva.

6) www.fosterandpartners.com, Foster Partners /. “Home: Foster Partners.” Architectural Design and Engineering Firm. Accessed March 31, 2020. https:// www.fosterandpartners.com/.

3) Foster, Norman, Norman Foster, and David Jenkins.

2002. Works Munich ;: Prestel.

7) Foster, Norman, Norman Foster, and David Jenkins.

2002. Works Munich ;: Prestel.

4) foster, Norman, Norman Foster, and David Jenkins. 2002.

Works Munich ;: Prestel.

8) Foster, Norman, Norman Foster, and David Jenkins. 2002.

Works Munich ;: Prestel.

5) Foster, Norman, Norman Foster, and David Jenkins. 2002.

Works Munich ;: Prestel.

11) Fernández-Galiano, Luis, and Norman Foster. 2017. Norman Foster : common futures Madrid: Arquitectura Viva.

9) Foster, Norman, Norman Foster, and David Jenkins.

2002. Works Munich ;: Prestel.

10) Foster, Norman, Norman Foster, and David Jenkins. 2002.

Works Munich ;: Prestel.

13) Foster, Norman, Norman Foster, and David Jenkins. 2002.

Works Munich ;: Prestel.

12) Foster, Norman, Norman Foster, and David Jenkins.

2002. Works Munich ;: Prestel.

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14) Foster, Norman, Norman Foster, and David Jenkins. 2002.

Works Munich ;: Prestel.

15) FernándezGaliano, Luis, and Norman Foster. 2017.

Norman Foster : common futures Madrid: Arquitectura Viva.

16) www.fosterandpartners.com, Foster Partners /.

“Home: Foster Partners.” Architectural Design and Engineering Firm. Accessed March 31, 2020. https:// www.fosterandpartners.com/.

20) Sveiven, Megan.

“Flashback: Hearst Tower / Foster Partners.”

ArchDaily. ArchDaily, February 3, 2012. https:// www.archdaily.com/204701/ flashback-hearst-towerfoster-and-partners.

23) FernándezGaliano, Luis, and Norman Foster. 2017.

Norman Foster : common futures Madrid: Arquitectura Viva.

27) FernándezGaliano, Luis, and Norman Foster.

2017. Norman Foster : common futures Madrid: Arquitectura Viva.

17) Sveiven, Megan. “Flashback: Hearst Tower / Foster Partners.”

ArchDaily.

ArchDaily, February 3, 2012. https:// www.archdaily. com/204701/ flashback-hearsttower-foster-andpartners.

21) www.fosterandpartners.com, Foster Partners /. “Home: Foster Partners.” Architectural Design and Engineering Firm. Accessed March 31, 2020. https://www.fosterandpartners.com/.

24) FernándezGaliano, Luis, and Norman Foster. 2017.

Norman Foster : common futures Madrid: Arquitectura Viva.

18) Sveiven, Megan. “Flashback: Hearst Tower / Foster Partners.”

ArchDaily.

ArchDaily, February 3, 2012. https:// www.archdaily. com/204701/ flashback-hearsttower-fosterand-partners.

22) Fernández-Galiano, Luis, and Norman Foster. 2017. Norman Foster : common futures Madrid: Arquitectura Viva.

25) Fernández-Galiano, Luis, and Norman Foster. 2017. Norman Foster : common futures Madrid: Arquitectura Viva.

28) Fernández-Galiano, Luis, and Norman Foster. 2017. Norman Foster : common futures Madrid: Arquitectura Viva.

29) www.fosterandpartners. com, Foster Partners /.

“Home: Foster Partners.” Architectural Design and Engineering Firm. Accessed March 31, 2020. https://www. fosterandpartners.com/.

19) www. fosterandpartners.com, Foster Partners /. “Home: Foster Partners.” Architectural Design and Engineering Firm. Accessed March 31, 2020. https://www. fosterandpartners.com/.

26) FernándezGaliano, Luis, and Norman Foster.

2017. Norman Foster : common futures Madrid: Arquitectura Viva.

30- 39) Foster, Norman, Norman Foster, and David Jenkins. 2002.

Works Munich ;: Prestel.

40) Foster, Norman, Norman Foster, and David Jenkins.

2002. Works Munich ;: Prestel.

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Text Citations:

Fernández-Galiano, Luis, and Norman Foster. 2017. Norman Foster : common futures Madrid: Arquitectura Viva.

Foster, Norman, Norman Foster, and David Jenkins. 2002. Works Munich ;: Prestel.

Foster, Norman, and Luis. Fernández-Galiano. 1999. Norman Foster Madrid, Espa~na: Arquitectura Viva.

Foster, Norman, Yukio Futagawa, and Yoshio. Futagawa. 1999. Norman Foster Tokyo: A.D.A. Edita.

Sveiven, Megan. “Flashback: Hearst Tower / Foster Partners.” ArchDaily. ArchDaily, February 3, 2012. https://www.archdaily.com/204701/flashback-hearst-tower-foster-and-partners. www.fosterandpartners.com, Foster Partners /. “Home: Foster Partners.” Architectural Design and Engineering Firm. Accessed March 31, 2020. https://www.fosterandpartners.com/.

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“As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown.�

-Norman Foster

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Sir Norman Foster of Thames Bank Norman Foster is the founder and executive chairman of Foster + Partners, a global studio for architecture, urbanism and design, rooted in sustainability. He also chairs the practice’s Design Board which provides strategic design direction to all projects. He was born in Manchester, and after graduating in Architecture and City Planning from Manchester University in 1961, he won a Henry Fellowship to Yale University, where he was a fellow of Jonathan Edwards College and gained a Master’s Degree in Architecture.

In 1967, he established Foster Associates in London with his late wife Wendy. Over five decades the practice has evolved and been responsible for a strikingly wide range of work, from urban masterplans, public infrastructure, airports, civic and cultural buildings, offices and workplaces to private houses and furniture design. Major projects include Beijing Airport, Millau Viaduct in France, 30 St Mary Axe (also known as the Gherkin) and the Great Court at the British Museum in London, the Hearst Headquarters tower in New York, and the Museum of Fine Arts, Boston. Current projects with which he is closely involved include the Apple Park in California, Bloomberg’s European Headquarters in London, the Comcast Tower in Philadelphia, the New International Airport in Mexico City, an aviary at the ZSL London Zoo, and the Norton Museum of Art in Florida.

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