The UK Government and Malcolm Reading Consultants have announced today an international competition for the design of a new National Memorial to commemorate the events of the Holocaust.
To be located next to Parliament in Victoria Tower Gardens in London, the new national landmark will “demonstrate the UK’s commitment to honouring the victims and survivors of the Holocaust, providing a place for quiet reflection as well as large-scale national commemorations.” The competition brief also calls for the design of a potential below-ground learning center to accompany the memorial, which would provide visitors with the opportunity to learn more about the history of the Holocaust and the context of the memorial itself.
From the Competition Organizers:
Envisaged as a place for everyone to come to remember the Holocaust, as well as a focal point for annual national commemorations, the Memorial will affirm the United Kingdom’s commitment to stand up against prejudice and hatred. It is intended to inspire reflection and compassion, and encourage present and future generations to respect and embrace difference. In parallel, a new Learning Centre is planned, subject to technical, financial, planning or other constraints, which will advance Holocaust education across the United Kingdom and help visitors develop a deeper understanding of how societal breakdown can, in the worst cases, lead to genocide.
The Memorial’s site, alongside the Houses of Parliament at the heart of Britain’s democracy, is in Victoria Tower Gardens adjacent to the River Thames. The Gardens already has a memorial-narrative inspired by democratic values, which aligns with the project. Three prominent monuments, dating from the mid-to-late nineteenth and early twentieth century, commemorate the expansion of suffrage, the abolition of slavery and civic sacrifice.
The design challenge is to create an outstanding and sensitively-designed Memorial and Learning Centre that is emotionally powerful while offering visitors an opportunity to deepen their understanding of humanity’s darkest hour. For some survivors – and those whose lives were affected by the Holocaust – survival stories can reveal glimmers of hope about human nature; for others, to perceive this moment in history as anything but unbearable is to compromise the Holocaust’s implacability.
This is a two-stage international design competition and is being run in accordance with EU procurement guidelines and the Public Contracts Regulations 2015. This competition has been advertised in the Official Journal of the European Union (OJEU).
No design is required at the first stage. Initially, competitors are invited to submit an Expression of Interest – the deadline for this is: 14:00 BST Monday 17 October 2016.
An exhibition of the finalist teams’ concept designs will be held in a central London location in January 2017.
More information about the competition, including a full project brief, can be found on the competition website, here.
Title: Malcolm Reading Consultants Announces UK Holocaust Memorial International Design Competition
From the architect. A haven for a young couple of art collectors and their two children to relax, coexist in harmony with their collection of works of art and design and feel at home in, right in the centre of London.
This is, in short, the brief Brazilian architect Fernanda Marques was given by the owners of this property, located at the end of a tranquil square in cosmopolitan London’s Belgravia.
“I retrofitted the triplex penthouse. My clients wanted ideal conditions for displaying their extensive art and furniture collection. My greatest challenge was to find the balance between the collection of works of art, prominently sculptural furniture and the everyday of a home”, explains Fernanda.
More than any other project this one required from the architect a thorough study of the materials and colours used in the interiors so as to ensure there would be enough wall surfaces as well as bright and open spaces.
Differently from the property’s original layout – with strong divisions between private and common areas – the interior was redesigned as large interconnected spaces, limiting doors to the indispensible ones.
4th Floor Plan
And so on the first floor are two suites, including the master bedroom – and soundproofing was enhanced. On the middle floor are the media room, the children’s suite and a guest suite. On the top floor are the kitchen, dining and living rooms.
As the couple are art collectors – and own, among others, works by Adriana Varejão and Zhang Huan- the lighting for the apartment received much attention.
Dayling, in turn, filtered by the windows that overlook the square, helps create a continuous, practically uninterrupted flow of spaces, where the owners’ vigorous art collection creates, at the same time, a unique and private atmosphere.
The Visual Resources Collection (VRC) at the Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP) has released the second phase of their online database, now containing 20,000 images of architectural plans, sections, diagrams and photographs. The Avery/GSAPP Architectural Plans & Sections Collection contains images related to GSAPP’s history of modern architecture curriculum, which focuses on the history of modern buildings, with an emphasis of 20th century Modernism.
Released within the Artstor Digital Library, the collection was launched earlier this year with 10,000 images. Now, after the completion of Phase 2, the database includes images from nearly 1,000 built projects from 44 countries as well as documentation of unbuilt projects and competitions such as the Chicago Tribune Tower and the Lenin Library – the new set of 10,000 images includes nearly 100 projects by architect Le Corbusier, 100 projects in South America, and over 125 in Japan.
The collection was compiled by three VRC curators in conjunction with professors Mary McLeod and Kenneth Frampton, as well as a team of over 25 Columbia GSAPP students. The team included students from across many of the GSAPP programs, including Masters of Architecture, Historic Preservation, Urban Design, and Urban Planning programs.
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In the canon of great Dutch architects sit a number of renowned practitioners, from Berlage to Van Berkel. Rem Koolhaas—the grandson of architect Dirk Roosenburg and son of author and thinker Anton Koolhaas—stands above all others and has, over the course of a career spanning four decades, sought to redefine the role of the architect from a regional autarch to a truly globally-active shaper of worlds – be they real or imagined. A new film conceived and produced by Tomas Koolhaas, the LA-based son of its eponymous protagonist, attempts to biographically represent the work of OMA by “expos[ing] the human experience of [its] architecture through dynamic film.” No tall order.
Tomas, who has been critical of films about architecture which are “made up of talking-head interviews interspersed [by] static, lifeless shots of empty structures,” suggested that REM would be “the first documentary to comprehensively explore the human conditions in and around [OMA’s] buildings.” Based on this vision—and, to a lesser degree, the nigh-on cult following which the practice has garnered—over a hundred Kickstarter backers pledged just over $30,000 to part-fund its production. REM, which has been four years in the making, premiered last week at the 73rd VeniceFilm Festival.
“New York City is the beginning, you could say. The foundation of everything else.” This city, unlike most others, has a certain foundational resonance for Koolhaas. Following his studies at London’s Architectural Association in 1972, he relocated to start working on Delirious New York, a retroactive manifesto for the city. This seminal book, which studies the unique metropolitan urban condition of the city to posit it “as the arena for the terminal stage of Western civilisation,” has since taken on almost mythological status. The stage for the film is set: this is a deadly serious affair, and one which will require your full attention.
If you’re looking for insights into the persona of the protagonist, you’ll be disappointed. Yes – Koolhaas sometimes flies Transavia, a budget-level subsidiary of KLM. He wears Prada, and a lot of it. He doesn’t use an iPhone. But a human-interest story, similar to that of Nathaniel Kahn’s My Architect (a highly personal journey to get to know his father, Louis Kahn), was never going to be the deal, here – and thank goodness. It’s clear that REM has been a formidable challenge behind the lens. Tomas has created a powerful cinematic experience, the quality of which is comparatively unparallelled in the world of architectural films. The film neatly sculpts the story of Koolhaas into a tight, rigorously edited narrative and the persona which emerges is at once charismatic, enigmatic, and reticent.
A certain degree of reticence is to be expected. For a filmmaker-turned-journalist, and a journalist-turned-architect, Koolhaas has more experience than most in recognising the power, and danger, of publicity. The Dutch translation for “editor” is redacteur – a word which, once Anglicised, references the process of “redaction” or, in its most extreme definition, “censorship.” REM sharply focuses in on a collection of grand narratives—building in the Middle East, for example; the media, villas, the countryside, the 14th International Architecture Exhibition in Venice—while others moments, such as the workings of his practice and the ways in which he collaborates with others (we see people like Marina Abramovic and Hans-Ulrich Obrist, albeit briefly), dissolve into a bokeh blur. If you accept that the story being told is revealing itself in a very particular way, frustrations are few; if not, scenes can often feel curtailed and all too brief.
From two techniques—the overarching voice of the architect himself, which spans almost the entire feature, and his portrayal by Tomas, his son—derives the film’s sense of authenticity. As we shadow Koolhaas across the globe, we become particularly au fait with the back of his head and shoulders – a conscious cinematic tactic which imbues the film with a sustained sense of momentum that it might otherwise lack. For the most part Koolhaas is moving, and we move with him. Occasionally scenes show him in meetings (audio redacted and often through a glazed partition), or we follow him through a construction site. Sometimes we hear people talk about him while Koolhaas himself, aside from incidental glances, never directly addresses the lens.
Nevertheless, REM constructs the most intimate portrait of the architect so far – not only in terms of how the narrative is delivered but also visually so. We learn, for example, that for Koolhaas exercise is a sociological undertaking. “Nothing is more revealing than seeing how people move in or near the water,” he states. A protracted, almost hypnotic scene attests to this: first we’re with Koolhaas swimming in a pool, before cutting to him leaping out of a boat in an ocean somewhere and swimming some more, before we jump abruptly to a dramatic face-on profile of the man in question – his piercing eyes framed by a furrowed brow and crescents below. Sudden and unexpected scene changes throughout mean that the film has no geographical anchor, nor a steady sense of where we sit in time. It feels as though we’re at the whim of his dizzying schedule and, as a result, the film feels almost timeless.
The observational power of Koolhaas’ practice is revealed in three short scenes in which Tomas revisits three of OMA’s groundbreaking projects: one public building, the Seattle Public Library, and two private villas in France – the Maison à Bordeaux, and the Villa dall’Ava in Paris. In Seattle the scene focuses on two homeless men, Phil and Mark, who use the building as both a retreat to pass the time and a place feel connected. “I’m sure it’s not any science or proven fact, but I think that some environments induce or are conducive to calming people” Mark, rather poignantly, suggests. This scene, which above all satisfies Tomas’ ambition to explore the human conditions in and around the buildings, is one of the more successful. Rather than capturing stationary shots of the library—an all too easy move when photographing architecture—the journey we take is a personal one, and one which treats a small box piano room with the same attention as the iconic atria.
The Maison à Bordeaux, one of OMA’s groundbreaking private houses, is presented with the same level of careful consideration. Completed in 1998, the building has visibly worn – concrete surfaces are slightly stained and the grass around is overgrown. One of its original residents, the father of Louise Lemoine who was physically disabled, has since passed away, and the house and its inhabitants have gradually restructured it for different patterns of living. An interview with Lemoine (who created the 2013 film Koolhaas Houselifealongside her collaborator Ila Bêka), in which she describes a domestic condition at once comfortable and “challenging,” is both beautiful and telling. Here, too, Koolhaas appears at his most relaxed and open and, perhaps, most satisfied.
Fundamentals and Absorbing Modernity 1914-2014—the two vast exhibitions he curated and controlled for the 14th International Architecture Exhibition in Venice—were immense undertakings, and the film palpably reveals the strain that they caused. One scene, in which Koolhaas is encased by journalists in advance of the opening, is particularly notable: the soundtrack, a majestic unbroken score by Murray Hidary, gives way as a television reporter asks him to describe what visitors to the Biennale will see. Looking to the floor and wiping his brow in despair, Koolhaas replies: “Sorry, I can’t answer that question. Just read the text.”
Whereas frustration ultimately melts into acceptance (he eventually answers the question, having been posed for the umpteenth time), it highlights one of the broader themes of the film and one which he addresses unambiguously: the matter of celebrity. “The dilemma,” Koolhaas states, “is whether you can use it or not.” While he recognises that the success of OMA is in large part down to its global exposure this has, in turn, fed an ever more voracious demand for his work, his opinions, and his presence.
Should REM, therefore, be read as the “official” retelling of Koolhaas’ professional life? A unique opportunity for both Tomas Koolhaas and Rem himself to redact—a necessary process, admittedly, in a seventy-minute film—and reformulate the narrative of a career which has been discussed, criticised, and lauded more than any other living architect? Perhaps this is the case. If so, it makes the film all the richer for it.
One World Trade Center is a bold icon lling the skyline void left by the fallen towers. While the adjacent World Trade Center Memorial speaks of the past and of remembrance, One World Trade Center speaks about the future and hope as it rises upward in a faceted form. Depending on the viewer’s perspective and angle of light, One World Trade Center appears to shape-shift from a platonic solid reminiscent of the original twin towers to an obelisk recalling the Washington Monument.
One World Trade Center ts seamlessly into the northwest corner of the World Trade Center site, on land claimed from the Hudson River over centuries of development in Manhattan. The site, several blocks east of the river and in the heart of the nancial district, will ultimately house more than ten million square feet of commercial development in ve towers, a performing arts center, 500,000 square feet of retail, a transportation hub, and, at its center, the National September 11 Memorial & Museum.
The master plan restores Fulton and Greenwich Streets, formerly blocked by the World Trade Tower plaza and the original 7 World Trade Center building, breathing new vitality into the area. The new 7 World Trade Center, which opened in 2006, reopens Greenwich Street, easing the ow of commerce and sending a message of accessibility to the approximately ve million annual visitors to the memorial and museum. The 2013 opening of 4 World Trade Center, the second tower to rise on Greenwich Street, signaled an important step towards completing the spiraling master plan, wherein each new tower stands progressively taller, culminating in the symbolic 1,776-foot One World Trade Center.
The tower rises from a podium whose square plan measures approximately 204 feet by 204 feet, the same footprints as the original towers. The podium is 186 feet tall and is clad in triple-laminated, low-iron glass ns and horizontal, embossed stainless steel slats. The more than 4,000 glass ns, each measuring approximately 13 feet by two feet, are xed and positioned at varying angles along the vertical axis to form a regular pattern over the height of the podium. This pattern both accommodates ventilation for the mechanical levels behind the podium wall and, in combination with a re ective coating, refracts and transmits light to create a dynamic, shimmering surface. The podium’s heavily reinforced concrete walls serve as a well-disguised security barrier.
Above the podium, the tower’s square edges are chamfered back, transforming the square into eight tall isosceles triangles. At its middle, the tower forms an equilateral octagon in plan and then culminates in a stainless steel parapet whose plan is a 150-foot by 150-foot square, rotated 45 degrees from the base. The resulting crystalline form captures an ever- evolving display of refracted light: the surfaces change throughout the day as light and weather conditions shift and as the viewer moves around the tower. Careful thought was also given to the design of the tower’s corners. Made of embossed stainless steel, the eight edges recall the re ective corners of the original twin towers.
One World Trade Center features a hybrid structure comprised of a high-strength concrete core surrounded by a perimeter moment frame of steel. Paired with the massive concrete shear walls of the core, the steel frame adds rigidity and structural redundancy. Both bolted and welded together for maximum connection strength, the steel members were hoisted into place by two Manitowoc cranes – the largest ever used in New York City. The tower’s tapered, aerodynamic form reduces exposure to wind loads while simultaneously reducing the amount of structural steel needed. Rising a quarter mile into the sky, the tower is brute strength veiled in glass.
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Excavation is usually a bane for real estate developers. To make way for new buildings, truckloads of excavated waste are removed from site in a noisy, time-consuming and gas-guzzling process. Exploring a more sustainable solution, the California-based company Watershed Materials have developed an onsite pop-up plant which repurposes excavated material right at the job site to create concrete masonry units (CMUs) used in the development. By eliminating truck traffic, reusing waste and reducing imported materials, the result is a win for the environment.
The machine is shown here at Watershed Materials’ pilot block factory and research lab in Napa, California. Image Courtesy of Watershed Materials
The pop-up plant itself works by applying ultra-high compression to loose excavation spoils, transforming it into a sustainable CMU. The pressure turns the mineral grains into a sort of sedimentary rock, mimicking the natural geological process of lithification. This unique manufacturing technology is the brainchild of Watershed Materials, who previously developed the compression technique in order to reduce the amount of cement used in concrete blocks by 50%.
Sample structural masonry block produced by Watershed Materials using excavated soil samples from the Kirkham site. Image Courtesy of Watershed Materials
As the founder of the sustainable building materials startup David Easton points out: “There’s absolutely nothing new about building masonry structures from local materials. Some of the oldest and best-known architecture in the world has been constructed from stone and clay sourced directly on site.” But according to Easton, “what is new and absolutely groundbreaking is that with upgraded technology and improved material science, a construction waste product the developer had to pay to dispose of can now become an asset and provides environmental benefits as well.”
The Kirkham Project Community Plaza, a one-quarter acre accessible open space in the center of the development, provides excellent opportunities for installation of Watershed Materials blocks as pavers and landscaping features. Image Courtesy of Watershed Materials
The pop-up plant was born when Naomi Porat, development manager of Alpha Group and part of the team working on the Kirkham Project, approached the startup to bring their technology straight to the construction site. The Kirkham Project is an urban infill redevelopment in San Francisco spanning across 445 new housing units, community plazas and gardens. While addressing the city’s need for additional housing, neighbors expressed concern over construction traffic, making it the perfect place to explore this onsite approach.
The Kirkham Project pedestrian entry, stairs and retaining wall along Kirkham Street provides an opportunity for installation of Watershed Materials’ blocks as both structural and decorative applications. Image Courtesy of Watershed Materials
In their feasibility study, the Kirkham Project team identified compelling advantages of the onsite process and product. Reduced truck traffic meant reduced cost, diesel emissions and impact on neighbors. Also beneficial to neighbors is the pop-up plant itself, which is no louder than typical construction equipment and only onsite for a limited period of time.
The Kirkham Project development team is evaluating the feasibility of using Watershed Materials blocks for the structural elements of sub-grade parking structures below these residential buildings. Image Courtesy of Watershed Materials
Sig Nordal 