Future Memories vol.1

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FUTURE MEMORIES Architectural Icons from USA, vol.1

Pygmalion Karatzas Pygmalion Karatzas 1

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FUTURE MEMORIES Architectural Icons from USA, vol.1

Pygmalion Karatzas

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This book is part of my ‘Integral Lens’ project awarded with the Fulbright Artist Scholarship 2015-16. The University of Tennessee Knoxville was the affiliated academic institution and professor of architecture Mark DeKay the supervisor. The subject of the project was an integral approach to the study and representation of the built environment through the photographic medium. During a 5-month period, approximately 9,600 miles were traveled by plane, 4,200 miles by car, 1,300 miles by public commuting, and 750,000 steps walking. In total about 12,000 still images were taken from 150 buildings and locations, 65,000 images in time-lapse video, 20 meetings and interviews, and 300 hours in post-processing and editing. After an initial research for each location, examples of modern and contemporary architecture were selected and mapped out. Each day as many of them as possible were visited for commercial style photo-shoots, utilising the fast-paced editorial approach. The photo-shoots required a heightened coordinations of multiple faculties: managing of time and resources, continuous adaptation to new conditions, logistical issues of accessibility and permissions, 15-20 thousand steps of walking with heavy gear per day, to name a few. The photo-walks and selection of locations were based on thematic groups already established but also on exploring and experimenting with new ones. For the editorial subjects, hundreds of images per building were taken. The initial selection narrowed them down to 30-40 and from those about 15-20 images were selected for post-processing. A natural high dynamic range editing reveals both highlights and shadows of the raw file which then is further processed in selective areas within the frame to add presence, depth and complementary lighting. The final images are then sequenced to narrate the project from context to frontal portraits to details, from exterior to interior, from daytime to dusk, with people and movement or unobstructed. In the first three volumes of ‘Integral Lens’ the series ‘Future Memories’ presented a few images from the visited buildings. In this stand-alone volume, the full editorial coverage of the buildings is presented in more detail. ‘Future memories’ is a genuine effort to portray the tour de force of contemporary American architecture. Public buildings are a point of attraction for every city and photography becomes the vehicle to explore and experience them more comprehensively. The selection of 52 projects from the 12 cities, is meant to provide an inspiring glimpse of the latest achievement in design and construction from the American continent, with a tireless dedication to architectural photography’s high standards, in service of the profession’s dissemination and cultural asset value. Half of them are presented in this publication and the other half will follow in volume two. Beyond the internal discourses of architectural theory, these examples of high-end architecture illustrate the sincere efforts of thousands of people to manifest the Beautiful, the Good and the True, individually and collectively. They learn from the past but they look to the future. Pygmalion Karatzas Architectural & Fine Art Photographer B.Sc. Architecture M.Sc. Urban Design

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1. NATIONAL 9/11 MEMORIAL PΑVILION & MUSEUM. Snohetta and Davis Brody Bond New York


2. FULTON CENTER. Grimshaw Architects and ARUP New York

11. ART INSTITUTE OF CHICAGO, MODERN WING. Renzo Piano Building Workhsop Chicago

3. WHITNEY MUSEUM OF AMERICAN ART. Renzo Piano Building Workshop New York

12. JOE & RIKA MANSUETO LIBRARY. Murphy Jahn Chicago


13. WMS BOATHOUSE AT CLARK PARK. Studio Gang Chicago

5. HUNTER’S POINT SOUTH WATERFRONT PARK. Weiss Manfredi and Balsley / SWA New York


6. MORGAN LIBRARY RENOVATION & EXPANSION. Renzo Piano Building Workshop New York

15. LAKEFRONT KIOSK. Ultramoderne Chicago


16. CONTEMPORARY JEWISH MUSEUM. Daniel Libeskind San Francisco

8. INSTITUTE OF CONTEMPORARY ART. Diller Scofidio + Renfro Boston

17. JAMES CLARK CENTER. Foster & Partners Palo Alto, Stanford University

9. HARVARD ART MUSEUMS EXPANSION. Renzo Piano Building Workshop Cambridge

18. McMARTRY BUILDING, DEPARTMENT OF ART. Diller Scofidio + Renfro Palo Alto, Stanford University

19. MUSEUM OF POP CULTURE (EMP). Frank Gehry & Partner Seattle



24. NATIONAL WWII MUSEUM. Voorsanger Mathes LLC New Orleans

21. CLYFFORD STILL MUSEUM. Allied Works Architecture Denver

25. PEREZ ART MUSEUM. Herzog & de Meuron Miami

22. DENVER UNION STATION. Skidmore, Owings & Merrill Denver

26. NEW WORLD CENTER, SYMPHONY HALL. Frank Gehry & Partners Miami

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New York, USA

NATIONAL 9/11 MEMORIAL PAVILION & MUSEUM Architects Snøhetta and Davis Brody Bond

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To honor the memory of those who tragically lost their lives in the terrorist attacks of September 11, 2001, New York-based Davis Brody Bond has been commissioned to design the National September 11 Memorial Museum at the heart of the former World Trade Center site in New York. Serving as a complement to the National September 11 Memorial, the museum will tell the story of 9/11 through multimedia displays, archives, narratives and a collection of monumental artifacts, while commemorating the life of every victim of the 2001 and 1993 terrorists attacks. Rather than treating the museum as an “icon containing exhibits”, Davis Brody Bond (DBB) has designed a structure that is made up of a “series of icons, which are the exhibit”. As visitors embark on their journey through the 125,000 square foot, subterranean museum, their experience is broken up into four primary components. The first is entrance and orientation. Visitors will pass through the Snohettadesigned Museum Pavilion, whose large atrium provides ample amounts of natural light into depths of the museum while displaying two structural columns rescued from the original towers. The visitors will then descend into the first, below-grade level of the Memorial Hall, transitioning their senses from the bright and active life of the plaza to the quieter, more contemplative environment of the museum. The procession continues through introductory exhibits positioned along a gradually sloped path. The surface is described as a “meandering ribbon”, whose gentle slope guides the visitor down “as if drawn by gravity”. At key points along this route there are carefully composed views and overlooks into the space beyond, revealing key artifacts and historic resources. At this point the vast scale of the site becomes clear. Once visitors reach the last viewing platform, they will descend the final stretch of the path to the ‘bedrock’ level, known as the West Chamber, which contains the foundations of the original World Trade Center. Here, the visitor will arrive at the third stage of his/her experience. At this lowest level of the museum and WTC complex, the original column bases and concrete footings that supported the twin towers are exposed in the floor slab of the museum, defining a clear outline of the former towers. A surviving retaining wall or the original WTC, known as the “slurry wall”, is exposed and serves as a backdrop for the 36-foot “Last Column” - the final piece of steel structure that was removed from Ground Zero, whose surfaces had been gradually covered with moving written testaments and photos during the rescue and recovery effort. The fourth and final stage of the visitor’s experience is a gradual ascent by escalator from ‘bedrock’ back to Memorial Hall, framing controlled views out to the aluminum-clad tower volumes. Arrival in Memorial Hall is followed by a walk back up to the plaza, the memorial fountains and the active life of the city. With an expected six million visitors per year, security, sustainability and operational efficiency are important components of the design. The Memorial, which was opened on September 11, 2011, and the Museum are designed achieve a LEED Gold rating. The project is also required to meet site specific New York State Executive Order 111 Sustainable Design Guidelines. Design initiatives include reduction in potable water use, increased ventilation, specification of low emitting materials, enhanced commissioning and refrigerant management. The project seeks innovation credits to provide 100% shading of non-pervious surface after five years through extensive tree planting and to design the building to educate visitors on the benefits of green buildings through displays and public programs. [text by Karissa Rosenfield / archdaily.com] Pygmalion Karatzas 11

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New York, USA

FULTON CENTER Grimshaw architects and ARUP

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Situated in the heart of Lower Manhattan, the Fulton Center is designed to be a catalyst for development and growth that celebrates the city’s history while looking forward to the area’s future. Drawing inspiration from the neighbourhood’s cast iron buildings and incorporating the restored 1888 Corbin Building, the extensive complex offers improved accessibility to New York City’s storied mass transit system in a durable, elegant setting. The streetscape permeates the building through carefully aligned entrances that offer clear and efficient pathways to the train platforms below. Once underground, passengers navigate clearly defined routes through brighter, widened passageways, new elevators and logical signage. The transit hub’s atrium rises 34 m and is topped by a conical dome centered on the concourse below. The central architectural concept of redirecting natural light deep into the transit environment culminates in the design of the dome’s interior and a new integrated artwork titled Sky Reflector-Net, a collaboration with James Carpenter Design Associates, Grimshaw, and Arup, with form-finding by Schlaich Bergermann und Partner, commissioned by MTA Arts & Design and MTA Capital Construction Company. Suspended above the atrium, Sky Reflector-Net is composed of 112 tensioned cables, 224 high-strength rods and nearly 10,000 stainless steel components. The dynamic transport environment is a vital link to this commercial centre and its growing residential sector, streamlining connectivity between eleven New York City Transit subway lines and enhancing the user experience for 300,000 daily transit passengers. [text by the architects]

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New York, USA

WHITNEY MUSEUM OF AMERICAN ART Renzo Piano Building Workshop

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Designed by architect Renzo Piano Building Workshop, the new building includes approximately 50,000 square feet of indoor galleries and 13,000 square feet of outdoor exhibition space and terraces facing the High Line. An expansive gallery for special exhibitions is approximately 18,000 square feet in area, making it the largest column-free museum gallery in New York City. Additional exhibition space includes a lobby gallery (accessible free of charge), two floors for the permanent collection, and a special exhibitions gallery on the top floor. According to Mr. Piano, “The design for the new museum emerges equally from a close study of the Whitney’s needs and from a response to this remarkable site. We wanted to draw on its vitality and at the same time enhance its rich character. The first big gesture, then, is the cantilevered entrance, which transforms the area outside the building into a large, sheltered public space. At this gathering place beneath the High Line, visitors will see through the building entrance and the large windows on the west side to the Hudson River beyond. Here, all at once, you have the water, the park, the powerful industrial structures and the exciting mix of people, brought together and focused by this new building and the experience of art.” The dramatically cantilevered entrance along Gansevoort Street shelters an 8,500-square-foot outdoor plaza or “largo,” a public gathering space steps away from the southern entrance to the High Line. The building also includes an education center offering state-of-the-art classrooms; a multi-use black box theater for film, video, and performance with an adjacent outdoor gallery; a 170-seat theater with stunning views of the Hudson River; and a Works on Paper Study Center, Conservation Lab, and Library Reading Room. The classrooms, theater, and study center are all firsts for the Whitney. A retail shop on the ground-floor level contributes to the busy street life of the area. A ground-floor restaurant and top-floor cafe are operated by renowned restaurateur Danny Meyer and his Union Square Hospitality Group. Mr. Piano’s design takes a strong and strikingly asymmetrical form— one that responds to the industrial character of the neighboring loft buildings and overhead railway while asserting a contemporary, sculptural presence. The upper stories of the building overlook the Hudson River on its west, and step back gracefully from the elevated High Line Park to its east.

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New York, USA


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The Brooklyn Botanic Garden Visitor Center is located within the berm that separates the Brooklyn Museum parking lot from the botanic garden. The Garden contains a variety of landscapes organized into discrete settings; the Visitor Center serves as legible point of arrival and orientation, and it defines a new threshold between the city and the landscapes of the 52acre garden. The Visitor Center has an architectural presence at Washington Avenue yet transitions into a structured landscape as it moves into the botanic garden. Nestled into the berm on the north side and topped with an undulating green roof, the building blends gracefully into the landscape. On the south side, too, the design mediates the relationship between “culture” and “cultivation” through veiled views into the Garden from the exhibition gallery. The gallery’s curved glass surfaces are spectrally selective and fritted to minimize heat gain and maximize natural illumination. In addition to the gallery, the Center’s program includes an information lobby, orientation room, restrooms, gift shop, café, catering and kitchen, and an event space. Beyond the native grasses planted on the green roof and the droughtresistant species that populate the landscape, the Center integrates other sustainable elements (a geothermal exchange and a rain garden, for example) to further its educational mission and environmental goals. Materials were purchased locally, and quite appropriately a century-old Ginko tree was successfully transplanted on-site, while other trees in conflict were harvested, milled, and integrated into interior finishes. [text by the American Institute of Architects]

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New York, USA

HUNTER’S POINT SOUTH WATERFRONT PARK Weiss Manfredi & Thomas Balsley / SWA architects

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Phase 1: Opening at the end of the summer, Hunter’s Point South Waterfront Park is phase one of a larger master plan that encompasses the transformation of 30 acres of post- industrial waterfront on the East River in Long Island City and includes the largest affordable housing building project in New York City since the 1970’s. Surrounded by water on three sides, Hunter’s Point South is a new model of urban ecology and a laboratory for innovative sustainable design. The park and open space is a design collaboration between Thomas Balsley Associates and WEISS/MANFREDI with ARUP as the prime consultant and infrastructure designer. The site is waterfront and city, gateway and sanctuary, blank slate and pentimento. Design leverages the site’s industrial heritage and spectacular views to establish a resilient, multi-layered recreational and cultural destination. Adjacent to a future school and an emerging residential development of 5,000 permanently affordable units, the park will provide a public front door and new open spaces for recreation that connect to the surrounding communities. The integrated design weaves together infrastructure, landscape, and architecture to transform a post-industrial waterfront site into new ecological corridors that anticipate the inevitable patterns of flooding and rising water levels along the East River, transforming Hunter’s Point South into both a new cultural and ecological paradigm. Phase 2: Hunter’s Point South Waterfront Park Phase II, opening summer of 2018, transforms 5.5 acres of an abandoned industrial landscape into a new waterfront park. Phase II of the park begins south of 54th Avenue and wraps around Newtown Creek to complete the full vision of Hunter’s Point South Park initiated with the Phase I park, resulting in nearly 11 acres of a continuous waterfront park. The park offers places of retreat and invites intimate connections with nature at the water’s edge, complementing the active recreation spaces in the Phase 1 park. The park is also a new model for waterfront resilience, with a “soft” approach to protecting the water’s edge from floodwaters. A trail meanders along the causeway, elevated slightly above the river, a stroll of shifting perspectives of the skyline and close-ups of the marsh habitat along the river’s edge and protects nearly 1.5 acres of newly established wetlands. The design also leverages the site’s dramatic topography with a shaded grassy promontory, a new island reached by a pedestrian bridge, a kayak launch, exercise and picnic terraces, a collection of intimate “break-out” lounges off the pathways, and a dramatic cantilevered overlook that hovers above the wetland and offers panoramic views of the Manhattan skyline. The park was a design collaboration between SWA/BALSLEY and WEISS/ MANFREDI with ARUP as the prime consultant and infrastructure designer. The design re-establishes the site’s former marshland identity and introduces a resilient, multi-layered recreational and cultural destination, bringing the city to the park and the park to the waterfront. [text by the architects]

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New York, USA


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Creating additional space for the Morgan Library in the heart of Manhattan was a particular challenge. This elegant group of buildings, a ‘village of memory’ is surrounded by the dense urban fabric of New York City, a seemingly solid physical barrier around the site. Rather than building upwards, Renzo Piano Building Workshop decided to dig downwards into the hard rock to build a sort of underground vault in which to house the library’s rare book collection. With surgical precision, new steel and glass units were inserted in and amongst the existing buildings. The Morgan Library required new public spaces, safe and organized storage areas for the collection itself, an auditorium for chamber music, and a new reading room, all whilst preserving the Library’s original classified buildings: the McKim’s building (1906), the Annex (1928), and the brownstone Morgan House at 231 Madison Avenue, former home of the Morgan family. The requested total expansion of nearly 10,000 sq m within the tight confines of the site was achieved by taking the site back to its original three buildings and recovering additional space underground, excavating to a depth of 17m. RPBW designed three new pavilions connected to the historic buildings, leaving a large open ‘plaza’ at the centre of the Morgan complex that could be used for public functions and as a metaphorical breathing space for visitors. The three historic buildings, the plaza and the new pavilions meet under a steel and glass transparent roof. The largest pavilion, located on Madison Avenue between Morgan House and the Annex, provides a new entrance at ground level, an exhibition area on the first floor and the new Reading room on the second floor. The smaller cube-shaped pavilion, located on the 36th Street between the Annex and the McKim building, is an exhibition space. This pavilion and the new Reading room are naturally lit from above. The third pavilion, adjacent to the Morgan House, contains office space and a number of service areas. All of the exhibition buildings are clad in steel panels. Below ground is the Gilder Lehrman Hall, an auditorium with a capacity of 299. While its acoustics have been designed for chamber music concerts, the auditorium can also be used as a conference or projection room thanks to the acoustic modularity of the room. New temperature and humiditycontrolled storage for the Library collection is laid out over three communicating floors. [text by the architects]

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Boston, USA

COMMUNITY ROWING BOATHOUSE Anmahian Winton architects

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“This boathouse for Community Rowing, Inc. (CRI) creates a new facility for the largest rowing organization in the country. CRI supports more than half of the rowers on the Charles River and provides equipment and instruction for rowers at all skill levels, including innovative programs for girls in the Boston Public Schools, and Adaptive Rowing for the physically disabled. This new building occupies a site along the Charles that establishes a bookend to the river’s collection of historic boathouses. This facility is composed of two buildings that form a common space between them, creating both a gateway to the river and a staging terrace for the boats. The smaller of the two buildings is a glass pavilion for the single shells. Its transparency allows for a unique perspective on the boats during storage and can be viewed from the adjacent footpaths and roadway. The main building holds four-person and eight-person shells on the ground floor, and contains administrative offices, and coaching and weight rooms on the second floor. The “core” of the building — stair, elevator, mechanical, boat repair, and locker rooms — is a sidecar volume whose separation from the primary spaces allows boat storage and support space to be open and flexible. The main building’s skin is comprised of composite panels of phenolic resin and wood veneer, and is durable, lightweight, and natural. The panels operate as louvers, opening and closing to naturally ventilate the boat storage and provide both functionality and energy efficiency. The louver system is also highly iconic of New England’s traditional covered bridges and tobacco barns, reflecting their proportions and cladding, and anchoring this new building more strongly to its environment.” [text by the architects]

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Boston, USA

INSTITUTE OF CONTEMPORARY ART Diller Scofidio + Renfro architects

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The ICA (Institute of Contemporary Art) is the first museum to be built in Boston in 100 years. The 65,000 square foot building includes temporary and permanent galleries, a 330 seat multi-purpose theater, a restaurant, bookstore, education/workshop facilities, and administrative offices. ICA museum straddles the competing objectives of a dynamic civic building for public programs and an intimate, contemplative environment for viewing art. The site is bound on two sides by the Harbor Walk, a 47-mile public walkway. The Harbor Walk is used as a civic surface that extends up to form the public grandstand, flattens into the theater stage, and wraps the surfaces of the theater extending into a horizontal tray that holds the gallery and shelters the grandstand. The waterfront is both a great asset for the museum and a distraction from its inwardly focused program. A choreographed passage through the building dispenses the visual context in small doses. Upon entry, the view is compressed under the belly of the theater, then scanned by the glass elevator, used as a variable backdrop in the theater, denied entirely in the galleries, and revealed as a panorama at the crossover gallery. The mediatheque suspended under the cantilever edits the context from view, leaving only the texture of water. Perry Dean Rogers acted as Associate Architect. [text by the architects]

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Cambridge, MA, USA

HARVARD ART MUSEUMS RENOVATION & EXPANSION Renzo Piano Building Workshop in collaboration with Payette architects

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Harvard University’s three art museums – the Fogg, the Busch-Reisinger and the Arthur M. Sackler – are being consolidated into one reorganized and upgraded facility, Harvard Art Museums, on the former site of the Fogg Museum on Quincy Street. The restored historic courtyard of the Fogg Museum is at the heart of 200,00 sq. ft (18,500 sq.m) of new museum space. The new facility combines the Fogg’s protected 1920’s Georgian revival building, with a new addition on its east side, along Prescott Street. A new glazed rooftop structure bridges the old and the new. The rooftop addition, designed with sensitivity to surrounding historic structures, allows controlled natural light to enter into the conservation lab, study centers and galleries, as well as the courtyard below. The original 1920’s building by Coolidge, Shepley, Bulfinch and Abbot Architects, was the first of its kind, combining museum space, teaching and conservation in one facility to promote scholarship. Following this tradition, the new centre is designed to make the collection of 250,000 objects more accessible for teaching and learning. All post-1925 additions and alterations have been demolished to make way for the new extension on Prescott Street. All aspects of the historic building – structural, mechanical and technical – are restored and upgraded. Galleries and study centers are significantly expanded; as befits their importance to the mission of the museums, the study centers are at the center of the building on level four. The conservation lab continues to occupy the top of the building, above the study center under the new sloping glazed roof. Public amenities, and support spaces for special events are enlarged and modernized, and include an auditorium of 294 seats on the lower level. While the original entrance faces onto the university campus, a new entrance into the museums from Prescott Street symbolically opens the museums to the local community. Views from the interior courtyard through to the entrances on both sides of the building help visitors to orientate themselves and there is also be secondary views, through the café and the shop, to Broadway and the Carpenter Center next door. At the north end of the extension a winter garden projects beyond the main gallery volume. This and other glazed sections of facade in the firstfloor exhibition space allow views into the museums from the street and bring daylight into the building in a very controlled way. [text by the architects]

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Boston, MA, USA


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rence room. The ventilation technology fulfills the high demands on comfort and soundproofing placed on such a sensitive area when it is situated in the middle of other function areas. The technical facilities for this special area were conceived independently, including a plan for integrating them into the architecture. Air is supplied laterally via air jets and is extracted through the ceiling as exhaust air. Based on the number of people in the room, infinite adjustment of the required air volume is possible. Tower: Island solutions place high demands on building systems to ensure well-being. The technical equipment discreetly supports the gastronomic functions. In places where guests spend longer periods of time, air sources are placed near the floor. In order to ensure pleasant air quality even near the glass facades, the vertical facade support profiles are heated to prevent the cold downdrafts typical for this kind of construction. Double Cone: An event space offering all the options of a public assembly place. The Double Cone is used as an exhibition space and for special events. Air is brought in by means of a low-induction system along the base of the facade and streams into the roof through the opening at the top of the cone. Floor air conditioning and air circulation coolers in the wall and floor areas ensure the necessary comfort level. In the in-between seasons, natural ventilation via facade shutters is used. The structural design of BMW Welt represents a special challenge when determining how to conduct supply lines. Because of the vast support-free space, which is borne by only 11 columns plus the elevator shafts, the supply cross-sections for the Lounge floors and the Tower had to be integrated into the few supporting core cross-sections. This situation necessitated close coordination at a very early project phase between those responsible for structural engineering, the routing of facility services and building technology. [text by the architects]

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Chicago, IL, USA

ART INSTITUTE OF CHICAGO - MODERN WING Renzo Piano Building Workshop in collaboration with Interactive Design Inc.

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The Modern Wing of the Art Institute of Chicago - a 25,000 sq m expansion housing collections of European contemporary art - also unifies and completes the cultural and urban campus of the Art Institute. Located in Grant Park, a green space on the banks of the lake, the Art Institute sits between Michigan Avenue and Columbus Drive, its site being bisected by railroad tracks. The limestone Beaux-Art building dated 1893 faces the western side of the city. Just behind it, the Modern Wing sits rotated 90° towards the north, providing a new point of access to the museum from Millennium Park, the venue of many of Chicago’s cultural events. The lightweight, transparent vertical facade of the Modern Wing features glass and metal referencing the Chicago skyline, while the solid limestone walls punctuating the glass facade pay tribute to the architecture of the original Art Institute building. The Modern Wing is laid out around Griffin Court and the new entrance from Monroe Street. The large double-height foyer is naturally lit and flanked by a learning centre, ticket counters, the museum gift shop, a cloakroom, lavatories, temporary exhibition space and a garden. Griffin Court orients the visitors and separates the exhibition spaces to the east of the railroad track from those to west. From the Court one can access the two upper floors of the Modern Wing or cross through the gallery that leads over the tracks to the museum’s original building. The entire second and third floors of the Modern Wing house the art collection, in naturally daylit galleries. The Millennium Park and the museum are both physically and visually connected: the Nichols Bridgeway, an elegant footbridge, crosses over the park, past Monroe Street and into the upper floor of the museum, passing through the restaurant. Once inside, thanks to ceiling windows the floor offers views of the park and the city skyline – a perfect backdrop for the sculpture collection. The roof, sometimes described as a “flying carpet”, appears to float over the building. The curved aluminium panels filter the daylight that then penetrates into the building below. The ideal north-south layout of the sunshades notwithstanding, additional canopies filter out the glare of the sun reflected off of the adjacent lake’s surface. The machinery running the building, storage space for works of art, and the technical and mechanical equipment are all housed in new spaces buried below street level. [text by the architects]

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Chicago, IL, USA

JOE & RIKA MANSUETO LIBRARY, University of Chicago Murphy Jahn Architects

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The site in the center of the University of Chicago Campus is surrounded by a variety of different buildings. With a mixture of styles, ranging from the gothic quadrangle to the south, the Limestone Brutalism of Netsch’s Regenstein Library to the east, the Henry Moore monument and Legorreta’s colorful Student Housing to the north and a building to the west, which will be replaced by a new Science Building. There is not much to relate to. The problem was to store 3.5 million books with an Automated Storage and Retrieval System (ASRS). The expectations in the brief suggested to house those in a well designed “Box” above grade. In an effort to infringe as little as possible with the open space, make the Reading Room and the Preservation Department the most pleasant space to be in and in line with our approach to challenge habitual conventions, we opted to put the books below grade, where their environment can be better controlled to achieve the desired constant temperature and humidity of 60 degrees, 30% RH – at less cost. The people oriented spaces could thus be located at grade in a minimal elliptical glass dome, which fits the context, because it defies conventional relationships. [text by the architects]

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Chicago, IL, USA


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The Clark Park facility is one of four boathouses proposed by Chicago Mayor Rahm Emanuel as cornerstones of his riverfront revitalization plan, anchoring the river’s future development. Emanuel’s initiative was spurred by the provision of nearly $1 million in grant funds by the United States Environmental Protection Agency to help clean up the river and drive job creation. Studio Gang was commissioned to realize two of the four boathouses, with the second facility to be located along the south branch of the Chicago River at 28th and Eleanor Streets. It is scheduled for completion in 2015. The WMS Boathouse at Clark Park is currently home to the Chicago Rowing Foundation (CRF). In partnership with the Chicago Park District, the CRF offers a wide range of indoor and outdoor activities year round, including learn to row sessions both in tanks and on the river, youth and masters team rowing, ergometer training, rowing-inspired yoga classes, and lessons tailored to individuals with disabilities. As the City of Chicago works to transform the long-polluted and neglected Chicago River into its next recreational frontier, Studio Gang’s boathouse at Clark Park helps catalyze necessary momentum. “The architecture is meant to visually capture the poetic rhythm and motion of rowing,” said Jeanne Gang, Founder and Principal of Studio Gang Architects. “But by providing a publically accessible riverfront, it also reveals the larger movement toward an ecological and recreational revival of the Chicago River.” The boathouse’s design translates the time-lapse motion of rowing into an architectural roof form, providing visual interest while also offering spatial and environmental advantages that allow the boathouse to adapt to Chicago’s distinctive seasonal changes. With structural truss shapes alternating between an inverted “V” and an “M,” the roof achieves a rhythmic modulation that lets in southern light through the building’s upper clerestory. The clerestory glazing warms the floor slab of the structure in winter and ventilates in summer to minimize energy use throughout the year. The 22,620 square foot complex consists of a two-story mechanically heated and cooled training center, one-story boat storage facility, and a floating launch dock. The main building houses row tanks, ergometer machines, communal space, and an office for the Chicago Park District. Boat storage accommodates kayak and canoe vendors and includes office space, as well as clear span storage for rowing shells and support equipment. The total building cost is $8.8 million, with $3.2 million in private funding including $2 million from WMS, $1 million from North Park University, and $200,000 from the Chicago Rowing Foundation and $1 million matched by Alderman Ameya Pawar (47th Ward) with TIF funds. [text by the architects, source: archdaily.com]

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Chicago, IL, USA


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The IIT Housing 2003 Project at 33rd and State commenced an initiative to redefine IIT as a residential University as well as continue the overall celebration of renewal announced by the new Campus Center. The aim of providing adequate housing of high amenity should inform all projects leading to the goal of 2,800 new beds. This unique project met that goal and surpasses, with an added imperative of setting quality standards, of enthusing the students, the university, the alumni, and the city, with the promise of IIT’s future.The site, across the college’s Main Quadrangle and Mies’ CrownHall, has to respond both to the Quadrangle as a space defining wall, as well be pervious, allowing east-west movement through the campus, which is divided through the north-south barriers of State Street and the elevated train.Between three U-shaped buildings forming entry-courts are two ‘sallyports’. Facing the railway line glass screens protect against the noise of the trains. The curved west-façade of profiled stainless steel panels merges at the set-back-floor into the roof and reinforces the idea of an extrusion.At the courts and sally-ports the wall projects and the panels are perforated and form screened gates. A deliberate transitional sequence from the hard urbanity of this particular site to the dormitory spaces mitigates the otherwise difficult conditions. The relatively hard edge of the screen walls along State Street makes the courtyard spaces semi-public. The obvious intent required to access these spaces creates a sense of identity for those who have reason to make that decision. At each elevator group, a communal lounge is located at the bridge, with a distinct choice again made to access either the north or south wing of the count space. Room suites are arranged with private rooms, private and semi-private baths, and common living/dinning space. Each wing has a common room at the top floor as well as a roof terrace for resident use. The spacial transition, public, semi-public, semi-private, private is distinctly linked to a sense of identity and address, i.e. Beech Grove House, north wing, third floor, suite 3, room A.The low budget did not allow planning for long-term energy/comfort measures in the MEP-system. However, the comfort of the user has been improved by simple means, like coated, low-E glass, maximizing daylight, natural ventilation and a specially designed furniture system allowing the students maximum flexibility in placement and use. [text by the architects, source: architizer.com]

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Chicago, IL, USA

LAKEFRONT KIOSK Ultramoderne Architects

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How much kiosk can you get for $75,000? Chicago Horizon probes this question through a quest to build the largest flat wood roof possible. Using Cross-Laminated Timber, a new carbon-negative engineered lumber product, in the largest dimensions commercially available, the kiosk aims to provide an excess of public space for the Architecture Biennial and Chicago beach-goers. The generous 56-foot square offers an architectural lending library and shelter from the elements during its time in Millennium Park, and later becomes a large shading canopy overlooking Lake Michigan with space for commercial vending within. Chicago Horizon expresses lightness at a variety of scales, from the 8-foot hovering roof plane to the viewing platform and vending kiosk, which are suspended from the roof using chainlink fencing without any additional supports. The lateral reach of the roof recalibrates the experience of two extremes of the Chicago landscape: at ground level, the Lake Michigan horizon dominates, forming a line of symmetry between ground and canopy. From the viewing platform, the roof becomes a new artificial horizon, shutting out the foreground and emphasizing the floating vertical Chicago skyline above an abstract floating plane. The pavilion roof structure represents the application of the principles of flat plate (typical to concrete construction) to the material of wood. Two layers of CLT panels—one layer oriented in each principal direction, and each outer layer oriented lengthwise to the 8-foot-wide by 56-foot-long panels—combine to form a two-way spanning plate supported at points by columns. Each layer carries bending in the direction of the panel, with the layer above or below providing shear transfer between adjacent panels (and vice versa in the other direction). The result is a surprisingly thin 8.25inch roof structure that spans upward of 30 feet between columns. The columns connect to the roof plate using steel tongue plate bolted to the columns, which passes up through a slot in the CLT to a horizontal plate that connects to the CLT panels from above, hidden below the roofing and waterproofing. The columns themselves are simple glued laminated sections, held off the ground by a similar tongue plate at the base. The observation platform is supported by a chain-link fence held in tension along the edge of the opening to the roof using tack welds to structural steel angle framing the opening. The overall system is simple in its detailing, use of materials, and conception of its performance as a two-way plate, and this underlying simplicity complements the efficiency of the system. [text by the architects, source: archdaily.com]

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San Francisco, CA, USA

CONTEMPORARY JEWISH MUSEUM Daniel Libeskind Architects

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Studio Libeskind designed this new museum in the heart of downtown San Francisco as an ode to dialogue, inserting its angled, glowing blue steelclad structure within a historic red brick power plant from the 19th century. The building design is based on the two Hebrew letters spelling “L’Chaim,” which means “To Life.” Following the Jewish tradition, according to which letters are not mere signs, but substantial participants in the story they create, the ‘chet’ provides an overall continuity for the exhibition and educational spaces, and the ‘yud,’ with its 36 windows, serves as special exhibition, performance and event space. The forms of the addition are clad in luminous blue steel panels, finished in a unique cross-hatching surface that helps to diffuse and soften the reflection of light off the stainless steel. The panels change color depending on the time of day, the weather, and the viewer’s position, creating a dynamic, living surface. The 2,500-square-foot grand lobby is a dynamic entryway that transforms into a forum for special programs; the dramatic contrast between the old and new is evident. Spanning its length is a wall upon which the letters ‘‘PaRDeS’ have been embedded and illuminated to refer to the Kabbalistic practice of discovering four distinct levels of meaning within religious writings. The museum’s philosophy—and its architecture—likewise embraces the idea of multiple interpretations and layers of meaning in life and art. [text by the architects, source: libeskind.com]

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Stanford, Palo Alto, CA, USA

JAMES CLARK CENTER, STANFORD UNIVERSITY Foster & Parners Architects in collaboration with MBT Architecture

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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. 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 ad-hoc 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, while the busy restaurant on the ground floor has become a social focus for the entire campus. A coffee bar on the third floor of the building is located to encourage people to pass by the laboratory spaces, to bump into colleagues and exchange ideas along the way. [text by the architects, source: fosterandpartners.com]

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Stanford, Palo Alto, CA, USA

McMARTRY BUILDING, DEPARTMENT OF ART Diller Scofidio + Renfro Architects

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California’s Stanford University opens a new building today by Diller Scofidio + Renfro that houses the school’s art and art history department, with a design featuring two interlocking strands. Encompassing 9,290 sq.m., the McMurtry Building contains classrooms, galleries, and a 125-seat flexible presentation space, along with studios, a digital darkroom, a print lab, a tinker lab, and a sound recording studio. The executive architect was Oregonbased Boora Architects. The building will allow art history students to work directly alongside students practising fine arts for the first time in the university’s history. It also enables the department to increase its art practice course offerings by 35 per cent over the next two years, according to the school. “Diller Scofidio + Renfro (DS+R)’s innovative building design maximises moments for collaboration between the disciplines through the shape of two interlocking strands that connect around a vaulted central library,” said the university in a statement. The strand containing the art history department has a cement plaster exterior that references Stanford’s traditional campus aesthetic. The other strand, which houses the fine arts program, is clad in a custom-zinc finish that is meant to have an industrial and contemporary appearance. Between the strands is a volume containing the library, with a sheltered courtyard below and a roof garden above. “Appearing as a floating glass box, the library offers views of every floor through a stunning glass oculus,” said the school, noting that every aspect of the building is “designed to encourage intermingling”. “While the building was inspired by the traditional arcaded courtyards of Stanford’s historic buildings, its dramatic sculptural presence is unique on campus,” said Charles Renfro, partner at DS+R. “It is an architecture that both illustrates and contributes to the pedagogical practises of the multiple disciplines housed within.” Inside, the facility features translucent walls between studios and classrooms, which usher in natural light and enable views to different areas of the building. Faculty offices are located on the third floor, while the lower levels house student and exhibition areas. The Oshman Presentation Space on the first floor features a garage-style door that can be opened up for outdoor performances. Adjacent to the room is a lawn that is shared with the school’s Canto Arts Center, an art museum dating to 1894. [text by Jenna McKnight, source: dezeen.com]

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Seattle, WA, USA

MUSEUM OF POP CULTURE Frank Gehry Architects

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Exhibits and public programs are envisioned as a three-dimensional floating puzzle formed by six elements, with each piece being critical to the shape and the nature of the whole. The Experience Music Complex is an exciting blend of exhibits, technology, media, and hands-on activities that combines the interpretive aspects of a traditional museum, educational role of a school, state-of-the-art research facilities of a specialized library, and audience-drawing qualities of performance venues and popular attractions. Located on 5th Avenue adjacent to the Space Needle at Seattle Center, the complex celebrates the creativity and innovation of American popular music and culture. The EMP presents opportunities to explore its history and traditions, participate in the music making process, experience great music, and learn the secrets of composition and performance. It places a special emphasis on music-related traditions in the Pacific Northwest, and specifically commemorates Jimi Hendrix, one of America’s a most creative, innovative, and influential musical artists. The building itself consists of a cluster of colorful curving elements clad in a variety of materials. The fragmented and undulating forms are inspired in part by the image of a shattered Fender Stratocaster. The Seattle Center Monorail, a remnant of the 1962 World’s Fair that continues to provide transportation between Seattle Center and downtown Seattle, passes through the building, allowing Monorail riders to glimpse inside. The Sky Church, a concept inspired by Jimi Hendrix, represents the coming together of all types of people united by the power and joy of music and music making, and is physically embodied in the building’s central public gathering area. Through a series of exhibition spaces, The Crossroads presents the collision of multiple viewpoints and traditions, which is American popular music. The Sound Lab offers hands-on opportunities to create and illustrate some of the relationships between music, science, and technology. The Artist’s Journey is a compelling history of the life and times of artists, illuminating the human aspect of their artistry and revealing the unexpected events and formative experiences that contributed to their creative development. The Electric Library is a multimedia archive of the EMP collection and information resources, and provides services that are available both on site and on-line. The Ed. House functions as an educational public outreach program, offering opportunities to learn more about the themes explored in the exhibit areas, experience and participate in a variety of musical activities, and further explore and develop creative abilities and music-related skills. In addition to 35,000 square feet of exhibition space, the building houses a restaurant, bookstore, and administrative spaces, with support and storage areas located beneath grade. [text by Kirsten Kiser, source: arcspace.com]

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Colorado Springs, CO, USA

CADET CHAPEL, US AIR FORCE ACADEMY Walter Netsch / Skidmore, Owings and Merrill Architects

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In 1954 Skidmore, Owings & Merrill were commissioned to design the United States Air Force Academy Cadet Chapel. Located in El Paso Country, Colorado, just outside of Colorado Springs, the chapel is of the training center for officers of the United States Air Force which is a large selfcontained community. At an elevation of 6500 feet on the East of the Rocky Mountains, the 3,000 acre Academy also contains housing for 8,000 people, a supply center, a hospital, an airfield, and an academic complex rising up the slope of the site. This program is split on three levels due to the slope, with the Administration Building, the Social Center, and the Cadet Chapel on the uppermost level. These spaces are used by both cadets and visitors, which with the beautiful peaks of of the Chapel rising towards the sky, attracts more than a million a year. “Designed by SOM as part of the Master Plan and design of the entire U.S. Air Force Academy campus, the Cadet Chapel was created as a single symbolic religious structure that accommodates the individuality of three major American faiths, thus requiring three distinct chapels.” In creating a monumental religious building, the design incorporated a monumental structure system. Seventeen rows of spires rise 150 feet high coming to seventeen points shooting towards the sky above, using repetition to enhance the powerful essence of each massive spire. These spires are used with a tubular steel frame of 100 identical tetrahedrons that make up the structure. The tetrahedrons are each 75 feet long and weigh five tons. They are enclosed with aluminum panels and spaced a foot apart. The gaps in between these tetrahedrons are filled with colored glass, reflecting the light of the chapel. The south facade is the entrance of the chapel, which begins with a granite stairway climbing to a one-story landing that leads to a band of gold anodized aluminum doors. Although a single building, the chapel houses three distinct main worship areas on two main levels, a Protestant Chapel, Catholic Chapel, and Jewish Chapel, along with two all-faiths rooms and two meeting rooms. The Protestant Chapel is located on the upper level and the Jewish and Catholic chapels and one all-faiths room are located beneath it. Another level below lies the larger all-faiths room and the meetings rooms. The Protestant Chapel is the largest chapel and is designed to seat 1200 people. The nave is 92 feet tall at its highest peak, and measures 64x168 feet. The tetrahedrons form the walls of the chapel with stained glass windows in between them that progress from darker to lighter as they approach the altar, creating a beautifully lit majestic space. The Catholic Chapel below the main level seats 500 people, and contains arches and stonework that suggest the architecture of the Romanesque Cathedral. The Jewish Chapel is distinguished with a round wooden screen that hides all of the structure, which is unlike what occurs in the Protestant Chapel above it. On the 50th anniversary of the chapel, SOM was again commissioned to do a full restoration that would fix problems of water infiltration, repair any deteriorated components, and restore the chapel to its original condition. The date of this restoration has not yet been decided. The USAFA Cadet Chapel is an icon of modernism, a memorable icon of religious architecture ahead of its time, and in 2004 it was named a United States National Historic Landmark. [text by the architects and Adelyn Perez, source: archdaily.com] Pygmalion Karatzas 363

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Denver, CO, USA

CLYFFORD STILL MUSEUM Brad Cloepfil / Allied Works architecture

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One first encounters the museum through a grove of trees and landscaped forecourt, which provides a place of contemplation, decompression, and transition from the museum’s surrounding urban context. Through the trees, the structure of the building is visible, consisting of cast-in-place architectural concrete walls with a variety of surface relief and texture. The façade features thin, vertical lines of concrete that project from the building’s surface in a fractured, organic, and random pattern, creating a rich surface that changes in the intense Denver sunlight and forms varied shadows across the building. The entry is revealed beneath a canopy of trees, and visitors are welcomed into the museum by a low, long reception lobby. Visitors rise from the lobby and reception area toward the natural light falling from the galleries on the second floor. The museum’s second level features nine light-filled galleries, totaling approximately 10,000 square feet. Each gallery is distinctly defined and proportioned to respond to specific aspects and needs of the collection and helps trace the different phases of Still’s career in chronological sequence. Gallery heights vary to accommodate changes in scale and media; those with 17-foot, 6-inch-high ceilings showcase Still’s monumental Abstract Expressionist canvases, some of which extend to over 12 feet tall and 16 feet long, while smaller galleries with 12-foot ceilings create a more intimate viewing environment for the presentation of smaller-scale paintings and works on paper. Two outdoor terraces and an education gallery offer visitors a moment of reflection and investigation during the gallery sequence, and allow them to re-orient themselves with the surrounding and distant landscape. Moving between galleries, visitors are provided glimpses down into the collection storage and interpretive galleries on the first level. The visitor’s experience of the collection is enlivened by natural light that enters the galleries through a series of skylights over a cast- in-place, perforated concrete ceiling. The geometry of openings in the ceiling creates an even field of soft and changing daylight in the galleries. Diffusing glass, motorized shades, and electric light give curatorial flexibility to the gallery spaces, helping to support different gallery configurations and the museum’s rotating exhibition program. Upon completing the primary gallery sequence, visitors may descend back to the museum’s first level to explore the painting storage, archive, and exhibition spaces viewable from above. An open double-high corridor connects these facilities and serves as an exhibition hall allowing visitors to further their learning of the history and life of Clyfford Still. A “timeline” section of the corridor places the artist’s work in context with historic events and other artistic movements, and an “archive” hallway presents the everyday artifacts of the artist’s life and information about his painting technique and media. From this corridor, visitors are also able to view the collection storage rooms, and assess the number of paintings produced during the artist’s prolific career. A visible conservation lab and a research center offer visitors additional resources for furthering their knowledge of Still’s career. This open corridor speaks to the institution’s founding principle of unveiling this once-private and very personal collection to the public, as it invites a gradual immersion in the works of Still. [text by the architects, source: archdaily.com]

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Denver, CO, USA

UNION STATION DENVER Skidmore, Owings and Merrill Architects

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Denver’s historic Union Station is a Beaux Arts masterpiece located on the edge of the city’s central business district. SOM was commissioned to expand and transform this station into a major regional transportation hub. To do so, the firm converted 20 acres of former rail yards into an urban transit district that orchestrates light rail, commuter and intercity rail, bicycle and bus routes, and pedestrian pathways into an intuitive intermodal hub. The focal point among these new elements is the open-air Train Hall, which was conceived as an efficient and formally expressive means of sheltering multiple railway tracks. Its primary structural system comprises 11 steel “arch trusses” spanning nearly 180 feet, clad in tensioned PTFE fabric. In profile, the canopy rises 70 feet at either end and descends in a dynamic sweep to 22 feet at the center, a gesture that allows the structure to protect the passenger platforms below, while remaining clear of the view corridor established to protect views of the historic station. Amtrak’s Zephyr trains— which zip passengers from Denver west to San Francisco and east to Chicago—now pull in beneath SOM’s soaring Train Hall canopy every day. In addition, four commuter rail lines are scheduled to open in 2016 and 2018. A bustling, two-block-long pedestrian promenade at grade level links the Train Hall to the SOM-designed Denver Union Station Light Rail Terminal, which has carried nearly 10,000 passengers every weekday since it opened in 2012. An enhanced network of pedestrian and public spaces within and around the site now seamlessly integrates the hub into the LoDo (Lower Downtown) district to the east and newer residential neighborhoods to the south, west, and north. Underground, the 22-gate Union Station Bus Concourse services 16 regional, express, and local bus routes. The terminal, measuring 980 feet in length, serves a dual purpose as a subterranean pedestrian concourse that connects the constellation of transportation programs distributed across the site. Vivid colors and natural lighting help passengers orient themselves, whether they are boarding buses, navigating to the light rail or commuter rail stations, or ascending into the capital city. Handsome terrazzo floors and sparkling yellow glass tilework elevate the ambience of terminal beyond the typical, often unimaginative depot experience, and a series of skylights and glass pavilions flood the hall below with daylight, infusing the station with a sense of motion and spaciousness. One of the largest of its kind in the United States, the redevelopment of the former rail yards at Denver Union Station is a case study of the power of transit-oriented urban design. This substantial public investment has catalyzed an unprecedented wave of private-sector activity: Economists estimate that the project has already triggered more than $1 billion in private mixed-use investment on surrounding property. Sensitive to its historic location, but fundamentally forward looking in its technical sophistication and city-building spirit, Denver Union Station sets the standard for 21stcentury intermodal hubs. [text by the architects, source: archdaily.com]

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Pygmalion karatzas has shared his documentation of the red rock canyon visitor center in nevada, originally designed and realized by line and space architects in 2010. Red rock canyon is located just west of the city of Las Vegas, and is distinguished by its series of large sandstone rock formations. visited by more than two million people each year, red rock canyon is popular among hikers, cyclists, rock climbers and all round adventurists. The valley is protected by the american bureau of land management and is recognized as a national conservation area. Set against its dramatic natural landscape of sandstone peaks, the red rock canyon visitor center is designed to defer at all times to its mountainous surroundings. ‘[the center] differs from traditional visitor centers by emphasizing the specific attributes of red rock canyon itself, in lieu of pseudo-natural imitations,’ explains line and space. true to its name, the architect evokes the natural setting of the building using straight lines and controlled interplay between interior and exterior spaces, an effect caught deftly in pygmalion karatzas’ photographs. A number of resource conserving operations have been integrated into the building’s design to support its existence in the desert, including photovoltaics and the first institutional use of transpired solar collectors. In addition to this, exhibits are relocated from air conditioned interiors spaces to fully day lighted passive/active tempered microclimates. Pygmalion Karatzas’ photos lend a dramatic air to the center, and accurately document the journey of shadow and light over the face of the building. A dialogue between natural and built environments is evident, with the ever present plants, clay, sky and mountains encroaching onto and amplifying the physical intervention of the visitor center itself. ‘here, visitors receive an introduction to the relevant science, art and culture that will enhance their experience in red rock canyon, strongly encouraging them to visit the beauty of the real thing nearby.’ [text by Peter Corboy, source: designboom.com]

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New Orleans, LO, USA

THE NATIONAL WWII MUSEUM Voorsanger Mathes LLC Architects

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Architectural photographer pygmalion karatzas has shared a series of photos portraying the national world war II museum in new orleans, originally designed by Voorsanger Mathes LLC. The images dramatically capture the various looming volumes of the building, erected in new orleans to honor those who fought on the side of the allies. The intersecting grey façades of the WWII museum are depicted here in stark relief against the grey new orleans sky, and accurately display the angular interplay between cement and glass. Interlocking geometries dominate the external envelope of the building, with precast concrete and multistorey glass panelling balancing both the building’s lighter aspect and its weighty temperament. According to the voorsanger mathes website, the 35 million dollar structure is the most visited destination in New Orleans. The various pavilions within the building guide the visitors’ narrative journey, dubbed by the architects ‘the path to victory’. balconies and walkways intersect overhead, creating an ‘architectural promenade’ that maps out the history of the war within the walls of the museum. The US freedom pavilion is the building’s tallest volume, measuring in at three thousand gross square feet and one hundred feet tall. [text source: designboom.com]

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Miami, FL, USA

PEREZ ART MUSEUM Herzog & de Meuron Architects

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An open structure The new Pérez Art Museum Miami (PAMM) is located in Museum Park, part of the redeveloping downtown waterfront on Biscayne Bay. Its direct neighbours are the Patricia and Phillip Frost Museum of Science and a major freeway, connecting mainland Miami with Miami Beach. Simultaneously oriented towards the park, the water and the city, the new PAMM is an open and inviting structure from all sides alike. Miami is known for its iconic art deco district, decorated boxes with no great relationship and exchange between inside and outside. What makes Miami so extraordinary however, is its amazing climate, lush vegetation and cultural diversity. How can these assets be fully exploited and translated into architecture? Nature As in previous examples of our work, such as the Dominus Winery in Napa Valley, the building’s environmental circumstances become central to its architectural concept. Due to its proximity to the water, the museum is lifted off the ground for the art to be placed above storm surge level. We use the space underneath the building for open-air parking, exposed to light and fresh air thatcanalso handle storm-water runoff. Rising from the parking level, the stilts supporting the museum platform become columns supporting a shading canopy, which covers the entire site creating a veranda-like public space that welcomes visitors to the museum and the park. Facing the bay, a wide stair connects the platform to the waterfront promenade. In this exceptional location, we wanted the museum to offer generous views to the outside. Yet all the building’s expansive windows are recessed, with wooden planks under the concrete beams to minimize the sun’s impact on the glazing and to reduce the building’s energy consumption for cooling. Tropical plants selected for their resilience to the local conditions engulf the structural system. Roof and plants combined will create an overall microclimate reducing the extreme temperature gaps between outside and inside in the hot weather. The exterior surface of the museum’s massive concrete walls is chiseled in places and polished in others. When adjacent to the glazing, the concrete is smooth and reflective. When facing the outside, the concrete becomes rough, exposing its natural ingredients. Rather than being an isolated “jewel box” (Schatzkammer) for art lovers and specialists, the museum provides comfortable public space for everybody. It is an extension of the park, offering gradual transitions from the outside to the inside, from the warm to the cool, from the humid to the dry and from the street to the art. Specificity The expression of the building comes from the canopy, the platform, the columns, the vegetation: in other words, the Veranda occupying the entire site. The museum’s interior volume nests within it, suspended amid the structural framework, each floor assuming the shape it needs. Because the galleries did not have to fit into any given form, we had the freedom to develop the curatorial layout, in close collaboration with the museum staff, to what felt like an optimal configuration to exhibit and develop the growing collection as well as to provide ample space for temporary exhibitions. PAMM is organised around four different gallery types: Overview, Focus, Project and Special Exhibition galleries. They occupy part of the first and the entire second floor. The Overview galleries, displaying the museum’s collection, serve as the connecting tissue between the other gallery types. Fluidly connected in a non-linear sequence, they allow relationships to be formed between spaces. They are characterized by large openings with views onto the park, downtown Miami, the bay and the freeway. Along this flowing sequence of rooms, single enclosed spaces punctuated by Pygmalion Karatzas 455

windows show an individual artist, a theme, a specific collection or a commissioned work. These spaces are called Focus and Project galleries. The fourth type, the Special Exhibitions galleries function as spacious exhibition halls designed to accommodate contemporary art exhibitions. The Overview, Focus and Project galleries form a firm and rhythmic sequence through the building, varying in proportion and relationship to the outside. On the other hand, the Special Exhibitions galleries are flexible, with fewer openings to the outside and can be subdivided by temporary walls. The spaces at PAMM and their materiality are very specific. They can be considered an antithesis to the flexible, abstract white cubes that have been a dogma in most recently built art spaces. Concrete and wood are used in different combinations, reflecting the outside materials of the building. Typical drywalls are detailed in a way that they are legible as added to the main structure. In order to enhance the inside-out transition, we designed a customized concrete mullion system that holds the largest ever-used hurricane-proof glass in Florida. Community and views At the heart of the building, a stair as large as a gallery connects the two exhibition levels. This stair also functions as an auditorium, using soundinsulating curtains in different configurations to provide space for lectures, film screenings, concerts and performances. Our idea was to avoid for such events to be isolated in a space remaining unused for most of the time. At PAMM, events in preparation are visible. When the space is not actively used for events, it is used by visitors and staff for individual readings, introductions to groups and the like. The museum shop and bistro are located on the platform level and are oriented to the bay. Education and research facilities are on the third floor along with the museum’s offices. We place these communal spaces at the periphery of the building, maximizing their exposure to the Veranda, Biscayne Bay, and Museum Park. [text by the architects, source: archdaily.com]

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Miami, FL, USA

NEW WORLD CENTER, America’s Orchestral Academy Frank Gehry Architects

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The New World Center, part of the New World Symphony America’s Orchestral Academy, opened its doors this week. Located in the heart of Miami Beach, the music education and performance facility is the first purpose-built home for the New World Symphony founded by artistic director Michael Tilson Thomas. In terms of design the building’s exterior portrays a quiet, almost tamed Frank Gehry. The rectangle shaped white building expresses Gehry’s well known bends and folds within its interior - glimpses of which are visible through the main entrance east facade 80 foot high glass curtain wall. The New World Center joins a wave of new architecture and design in Miami. Playing host to the most important art show in the United States, Art Basel | Miami Beach, and the 2010 National AIA Convention, Miami has been focusing its efforts on developing a new vibrant city center. Just down the street from the New World Center resides 1111 Lincoln Road designed by Herzog & de Meuron, completed last year. Currently Herzog & de Meuron are also working on the expansion for the Miami Art Museum. Miami Beach SoundScape, the public event space designed by the Dutch landscape architecture firm West 8, is located to the east of the New World Center and to the west of the new building is Pennsylvania Avenue Garage, a new 550-car parking structure designed by Gehry Partners, LLP. New World Symphony, America’s Orchestral Academy, marks a new era for classical music with the inauguration of the institution’s first purpose-built home, an extraordinary new facility in the center of Miami Beach. Designed by Frank Gehry in close collaboration with the New World Symphony’s founder and artistic director Michael Tilson Thomas, New World Center opens up exciting new possibilities in the way music is taught, presented and experienced and dramatically advances New World Symphony’s mission to provide exceptional professional training for the gifted young music school graduates who are its Fellows. “The opening of this extraordinary building is the beginning of a wonderful adventure and exploration,” said Michael Tilson Thomas. ”Not only are we marking a new era for this organization and giving our musicians an unrivalled facility in which to learn and achieve their potential, but we are also inviting everyone to experience classical music in a new kind of space—one that is designed to engage and to energize, and that will move people from around the world to think about music in new ways.” At the heart of New World Center is a flexible and technologically sophisticated 756-seat performance hall, featuring large acoustically reflective “sails” that surround the audience with sound and also serve as video projection surfaces. Directly adjacent to the 100,641-square-foot building is the new Miami Beach SoundScape, a landscaped 2.5- acre public space into which New World Symphony will extend its programming. Together, the building and the public space create a dynamic new city center and a geographical “heart” from which civic, cultural, recreational, tourist and leisurely activity will radiate. Six days of opening festivities will showcase the new building’s remarkable capabilities. Events include the world premiere of a commissioned work for orchestra by acclaimed composer Thomas Adès; video projections within Pygmalion Karatzas 475

the performance hall, including a new work by filmmaker Tal Rosner and the world premiere of a series of animations developed in collaboration with the University of Southern California (alma mater of Michael Tilson Thomas and Frank Gehry) and its School of Cinematic Arts; outdoor video projections of a new work by Tal Rosner and digital artist C.E.B. Reas; an outdoor wallcastTM of a live concert; the introduction of new concertformats designed to engage and broaden audiences; an architecture symposium; live outdoor entertainment; and fireworks. Frank Gehry stated, “I am very proud of this building, which results from a close working relationship with my lifelong friend Michael Tilson Thomas and brings to life his dream for New World Symphony and the entire world of classical music. I hope the spirit of creative engagement that Michael and I have enjoyed will live on in the building’s spaces. They are designed to encourage young musicians, their mentors and their audiences to try new things, interact in new ways and remain open to new experiences.” [text by the architects, source: archdaily.com] [photographer’s acknowledgement: my thanks to Craig Hall, Vice President for Communications, New World Symphony, America’s Orchestral Academy, for granting access and arranging for the photo shoot.]

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Pygmalion Karatzas studied Architecture at the Technical University of Budapest (1991-95), Urban Design at Heriot-Watt University in Edinburgh (1995-97), and practiced architecture for 12 years. In 2006 he participated in the first ‘Ecovillage Design Education’ training-of-trainers course in Findhorn organized by the Global Ecovillage Network and endorsed by the United Nations Institute for Training and Research. Since 2013 he is focusing systematically on architectural and fine art photography, producing a portfolio of 250+ architectural, commercial and artistic projects from Europe, USA and Middle East. His images are regularly featured in Greek and international media, have received 86 distinctions from leading global photographic competitions and the prestigious Fulbright Artist Scholarship award 2015-2016, and are part of private and public collections. Since 2014 he is the photo editor for the Danish Architecture Center and a contributing photographer to Arcaid Images London, iStock Getty Images, and Adobe Stock. Divisare Atlas of Architecture ranks him among the top 100 architectural photographers worldwide. He has participated in exhibitions and fundraising in Greece, Italy, France, UK and USA, and produced 10 book collections, with the ‘Integral Lens’ book receiving 3rd place at the PX3 Prix de la Photographie Paris 2018 and shortlisted at the Trieste Photo Days Book Award. ‘Nortigo - architectural abstractions’ received 2nd place at the Moscow International Foto Awards 2019. In affiliation with the University of Tennessee Knoxville and professor Mark DeKay, their paper on a multi-perspectival approach to architectural photography was presented at the 3rd Integral European Conference; at the 5th Trieste Photo Days Festival and in 2019 became part of an academic mini-term / traveling workshop curriculum. Through photojournalistic reportages, collaborations with architectural firms, businesses and organisations, as well as self-initiated projects, he exhibits his passion and dedication to the study, representation and dissemination of the built environment and its broader role as a cultural asset. www.pygmalionkaratzas.com

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Future Memories vol.1 - Architectural Icons from USA by Pygmalion Karatzas Credits Publisher: Pygmalion Karatzas Photography Photography: Pygmalion Karatzas Editor: Pygmalion Karatzas Author: Pygmalion Karatzas (unless otherwise stated) First edition: 2020 Š 2020 Pygmalion Karatzas All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without prior written permission of the publisher. The publisher and author of this book and all products related to this book have used their best efforts in creating this product. Neither the publisher nor the authors make any representation of warranties with respect to the accuracy, applicability, fitness, or completeness of the contents of this edition and assume no responsibility for errors or omissions. Image Licensing: High-resolution images are available for editorial and limited commercial use. Image Copyright: Rights-Managed Š Pygmalion Karatzas. Edition Type: Open edition print. Fine Art Prints: Images are available in gallery-quality fine art prints on various sizes, media and framing options. For further information on usage licensing and prints: pygmalionk@hotmail.com www.pygmalionkaratzas.com

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“In Greece, scholars and students who have been supported by Fulbright have made a big impact on society. There are also countless other Fulbright alumni working in small or medium-sized businesses, non-governmental organizations, schools and research institutions that may be less known to the general audience, however, impact the world we live in without us knowing.” - U.S. Ambassador David D. Pearce “The photographs themselves take a range of subjects, buildings and contexts, interiors and exteriors, wholes and parts, full of people and empty of habitation, frozen structures and dynamic skies. The wide-angle Karatzas lens ranges widely. If integral consciousness is “aperspectival” (meaning beyond individual perspectives), as Jean Gebser put it, then something of this lens is available to viewers of this work. Although filled with page-turning anticipation about what comes next, this is not work to be glanced over as a coffee-table fashion book. I encourage you to take a longexposure view of each image. Let the Integral Lens take you somewhere.” - Professor Mark DeKay, Author ‘Integral Sustainable Design’ “The magnificent photographs with their sharp outline, atmospheric lighting, soft colors and wide angle immediately impress on the viewer an image of the expansiveness and variety of the American landscape both urban and natural.” - Els Siakos Hanappe, Program Coordinator, Fulbright Foundation Greece

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