Posts tagged with “Kohn Pedersen Fox (KPF)”:
Open House New York opens 20 downtown Brooklyn sites during AIA weekend
A discussion about the change and transformation in the region featuring Downtown Brooklyn Partnership President Regina Myer, FXCollaborative Design Director Gustavo Rodriguez and other industry leaders will take place at the ISSUE Project Room at 10:30 a.m., kicking off the day-long events.
Downtown Brooklyn has undergone dramatic changes in the past two decades. It has now emerged as a new area for real estate and commercial development. The neighborhood is flooded with commercial creativity and upscale living. This event will offer an insider look at the transformed, up-and-coming district.
Other participating sites include Brooklyn Strand Action Plan by WXY architecture + urban design , the New York Transit Museum, Polonsky Shakespeare Center and the Schermerhorn.
The general public can purchase tickets to attend tours and panel discussions in those private buildings. Tickets can be purchased at this link .
What role do architects have in a driverless future?
In November 2017, the AIA held an event centered on the topic, ” Anticipating the Driverless City,” and the furor seems justified following the death of a pedestrian at the grille of an autonomous Uber car.
“Planners think in 30-year increments, and autonomous vehicles are already hitting the streets today,” Nico Larco, co-director of the Sustainable Cities Initiative at the University of Oregon, said. “Urban planners should be terrified.”
Larco’s not wrong. Only a few states even have regulations for driverless cars, let alone ideas for designing a future without parking. With Ford launching self-delivering pizzas in Miami, Google’s Waymo rolling out an autonomous ridesharing service in Arizona, and driverless taxis making inroads in cities all over the world, architects and planners will either need to look ahead or be stuck in triage mode.
Sam Schwartz, former New York City Traffic Commissioner from 1982 to 1986 and founder of his eponymous traffic and transportation planning and engineering firm, has categorized the potential futures as “the good, the bad, and the ugly.”
A utopic self-driving car scenario would have driverless cars constantly circulating and on the prowl for riders, while providing “first mile, last mile” access to and from souped-up mass-transit corridors.
If AVs truly take off and replace a sizable portion of manned cars on the street, then parking lots, garages, and driveways—not to mention thousands of square feet of on-street parking per block—would sit vacant. Walking, cycling, and autonomous (electric) buses would feature heavily in a multi-modal transit mix, and streets would narrow as bioswales and strips of public parks replaced parking spots. There has been movement on designing for that future; FXCollaborative , HOK , Arup , KPF , and other prominent firms have all put forward scalable designs for reclaiming the urban fabric. Speculation has already forced public officials in Pittsburgh to put together plans for integrating self-driving cars into the city’s fabric by 2030, and developers in New York are building flexible parking garages that can easily be converted for other uses.
However, the key to actually enacting any of these schemes lies in large-scale government intervention. Without a concerted top-down reclamation and conversion of unused streets, AV-centric zoning policies, or renewed investment in mass-transportation options, cities will never be able to integrate AVs into their infrastructure. The largest hurdle to achieving the “good” future isn’t technological, it’s political; even self-driving evangelists have conceded that a laissez-faire approach might result in increased traffic on the road.
Uber, Lyft, Google, and a raft of competitors are already jostling to bring self-driving taxis to market so that these companies won’t have to pay human drivers. Under the guise of preventing traffic fatalities—there were nearly 40,000 lives lost in the U.S. alone in 2017—the big players are lobbying all levels of government to allow their AVs on the street.
If vehicle miles traveled per person in AVs were allowed to increase without intervention, society could slide into an ugly scenario. This dystopic outcome would see mass transit hollowed out by a lack of funding and pedestrians shunted out of the streets in the name of safety. Studies have already shown that existing ridesharing services increase congestion and cause bus services to deteriorate, and if commuters get fed up with slow commutes and turn to ridesharing services, mass transit options could be sent into death spirals due to decreased revenue.
Driverless cars are often touted as being spatially efficient, especially as they can join each other to form road trains—tightly packed groups of vehicles moving along optimized routes. But considering how much space on the road 40 bicycles or 40 commuters in a bus would take up, the flaw in that thinking becomes self-evident. Even if artificial intelligence can route traffic more effectively than a human, putting more cars on the road offsets the gains in speed by decreasing the amount of space available.
Although computers might be great at coordinating with each other, the external human element will remain a wild card no matter what. Well-planned cities that prioritize walkability and ground-level experience would place pedestrians over passengers, but a worst-case scenario could see cyclists and walkers forced to wear locator beacons so that AVs could “see” them better, while hemmed in behind fencing.
The worst driverless car scenarios take Le Corbusier’s famous claim that “the city built for speed is the city built for success” to heart. The high-speed arterial thoroughfares Corbusier envisioned in The Radiant City were realized in the destructive city planning policies of the 1950s and ’60s, but municipalities have spent heavily to correct their mistakes 50 years later. Much in the same way that widening roads actually worsens traffic, if planners and architects ignore or give deference to driverless cars and continue to prioritize car culture in their decisions, congestion, gridlock, and withered public transit systems are sure to follow.
The adoption of self-driving technology will likely birth new building typologies with unique needs, from centralized hubs where the cars park themselves to AV repair shops. As futurist Jeff Tumlin, principal and director of strategy at Nelson/Nygaard, points out, self-driving cars aren’t a new concept. Their lineage can be directly traced to ideas introduced by GE at the 1939 World’s Fair, but this is the first time that the technology has caught up with the vision. Planners and politicians have had 80 years to grapple with solutions; they can’t afford to take any longer.
The Wharf, D.C.’s massive waterfront development, is now open
The Wharf–a $2 billion new development on a former industrial stretch of the D.C. waterfront–has finally opened. The developers are Madison Marquette and PN Hoffman, and the master architect and planner is Perkins Eastman .
Previously the site was a mile-long stretch of boat storage, industrial space, and some back-door barbecue joints. At its northern end, it also includes the oldest fish market in the United States. Before the Wharf could be built, the existing seawall and promenade were torn up and replaced by an underground, two-story parking garage spanning the length of the development. The garages connect from below into an array of luxury residential structures with ground-level commercial space–restaurants, yoga studios, and other amenities. Last week all of these opened to the public–in total, 1.2 million square feet of mixed-use space including office structures, luxury and affordable residential space, a marina, and waterfront parks. The fish market was the only structure preserved as-is.
The Anthem, a new 6,000-person theatre venue, is a cornerstone development of the Wharf. Designed by New York-based Rockwell Group , the venue is essentially a concrete volume hedged in by two L-shaped residential structures. The Anthem has a warehouse-like interior and two levels of balconies split into smaller, drawer-like extrusions. Massive steel panels flank the stage, laser cut and illuminated with the pattern of two enormous curtains drawn back, resembling the velvet drapery of Baroque theaters.
The space is managed by a 30-year old staple organization in D.C. entertainment–the 9:30 Club–to whom the Wharf reached out in the initial stages. The building’s board-form concrete paneling and industrial facade are intended as a nod to the Club’s famed punk-laden lineups. In the lobby, one can look up through an installation of floating cymbals to four rectangular skylights three floors up. If you look closely, the skylights ripple with water–the underbelly of a pool for a residential structure stacked above.
A key design challenge for the Anthem was its siting between two residential structures. To address the noise issue, Rockwell spent several million dollars designing a multi-layered sound barrier between the structures, which are reportedly so effective that amplified concerts are inaudible from the interiors of apartments less than a hundred feet away. Supposedly, a resident could sleep soundly while Dave Grohl shredded away on opening night.
The Anthem’s neighboring structures include designs by FOX Architects, Kohn Pedersen Fox, Perkins Eastman, Parcel 3A, Cunningham Quill Architects, BBG_BBGM, Handel Architects, WDG Architecture, Studio MB, SmithGroup JJR, MTFA Architecture, SK&I, and Moffatt & Nichol.
Only Phase One has opened. Phase Two will add an additional 1.2 million square feet to the overall site footprint, mostly extending south. The roster of new structures will include designs by firms such as SHoP Architects, Rafael Viñoly, Morris Adjmi Architects, Hollwich Kushner (HWKN), ODA, WDG Architecture, and Michael Van Valkenburgh Associates (MVVA). The expansion will include increased office and residential space, an additional pier and marina, as well as increased park space. Phase One is notably without much public greenery. The construction of Phase Two is slated to begin in 2018, with a projected opening of 2021.
Seoul’s latest skyscraper utilizes 20 different types of glass
The Lotte World Tower rises from bustling Seoul , South Korea, as a sleek new city icon. For the team behind the 123-story building at global architecture firm Kohn Pedersen Fox (KPF) , creating this seamless silhouette meant a challenge of engineering ingenuity—and quite a bit of glass.
“Even though it looks like one big monolithic tower, there are 20 different types of glass on that tower,” explained KPF’s Richard Nemeth, managing principal for the project, which opened earlier this year. The 1,821-foot-tall silhouette was inspired by traditional Korean forms like pottery and paintbrushes, but its multiple functions helped dictate the form as well. Office space is located at the bottom, while the tower tapers in two directions—“think football instead of baseball”—offering smaller spans from core to glass toward the top of the tower, where the residences, hotel, and observation deck are located.
At the base, a 100-foot-tall lobby utilizes a gradient of mirrored frits on the glazing to provide shading while accommodating views at ground level; at the top of the tower, frits were used to highlight the diagrid of the belt trusses. The residences utilize laminated safety glass on the inner lite with heat-strengthened glass on the outer lite, while the hotel and office sections use heat-strengthened glass for both. To keep the building from looking like a “giant patchwork quilt,” Nemeth said, the KPF team ensured that the outer lite is always the same thickness, with the reflective coating on the number-two surface. “Then, whatever you do on your inner lite is much less visible to the outside, because it’s inside the reflective coating,” he explained.
While the world’s fifth-tallest building includes a number of innovative energy-saving strategies, for many visitors the tower’s crowning achievement is the glass-floored observation deck—the world’s tallest. Cantilevering out, it offers views some 1,600 feet down—with just three layers of 10-millimeter-thick tempered glass with SentryGlas Plus interlayers separating viewers from the ground.
COOKFOX, Olson Kundig, Morris Adjmi, and KPF are among the firms reshaping Tampa’s Downtown
Spread over nearly 50 acres, 18 buildings comprise the scheme which is being backed by Strategic Property Partners—a consortium between Jeff Vinik, who owns NHL’s Tampa Bay Lightning, and Bill Gates’s Cascade Investment. Though first announced in early July this year , more details, such as the architects involved, have been released.
Four New York firms are in on the act. COOKFOX will be designing two buildings: an office and a residential block which will sit atop some retail. KPF has been commissioned for a series of apartments and condominiums which will reside above some retail and a grocery store. Morris Adjmi Architects has scooped arguably the largest commission: a 157-key five-star hotel, a range of luxury condos, more apartments, and retail. Gensler , meanwhile, will be behind two office over retail projects.
Seattle firm Olson Kundig is also doing a similar project and Baker Barrios, from Orlando, are to design a central cooling facility. Greenery is coming via Tampa-based Alfonso Architects, who are fronting the redevelopment vision for the city’s Channelside with a new public park, waterfront shops, and living units. Another Flordian firm, Nichols Brosch Wurst Wolfe & Associates from Coral Gables, are designing a 500-key hotel. Finally, New Haven, Connecticut practice Pickard Chilton are behind three projects that will office and residential over retail.
When finished, Water Street Tampa will boast more than two million square feet of offices. In doing so, the scheme will bring the first new office towers Downtown Tampa has seen in almost 25 years. Located on the Garrison Channel and Hillsborough Bay, the project, according to a press release, intends to bridge the city’s cultural landmarks, including the Tampa Convention Center, Amalie Arena (where the Tampa Bay Lightning play), Tampa Bay History Center, and Florida Aquarium. This will be achieved via an array of public parks and spaces that lead to the waterfront where the Tampa Riverwalk, and five-mile-long Bayshore path, can be found.
Glass and terra-cotta rise at One Vanderbilt
This soon-to-be neighbor of Grand Central Terminal was strongly influenced by its Midtown context. “From very early on, even the competition phase, we felt really strongly that it needed to have an element of masonry construction,” said Darina Zlateva, associate principal at Kohn Pedersen Fox (KPF). “Obviously, this is a high-rise super tall building, and so how that translated to us was high-performance terra-cotta, which we included in our spandrel.”
The team chose to collaborate with Boston Valley Terracotta, and the two companies have been working on the glaze since 2013. Terra-cotta is included throughout the entire tower—including the podium—and there is a series of cuts at the base whose underside is entirely made up of terra-cotta. The spandrel zone has diagonal pieces of white terra-cotta that extend from the base to the very top of the tower. The curtain wall is double-glazed, double-fired terra-cotta, the structural system is extruded aluminum, and there is a high-performance glass on the vision—it’s an IGU with a Low-E coating on the number two surface, provided by Guardian. The gold metal fenestration that doubles up as a shading device is composed of back painted glass with a metallic finish, supplied by Permasteelisa.
The building partition is four interlocking sloped masses, which provide air and light down to the street. “This is something that’s really important for the city of New York,” stated Zlateva, “so we worked with the Department of City Planning to make sure that our building angles complied with their light and air requirements.” At the base, those four tapered volumes get sliced in order to create a view corridor to Grand Central. This will mark the first time in a century that pedestrians will be able to see the corner of the terminal from 42nd Street.
Shenzhen’s Ping An Finance Center crowned World’s 4th Tallest Building
The Council on Tall Buildings and Urban Habitat (CTBUH) has announced the completion of the Ping An Finance Center in Shenzhen, China, according to CTBUH tall building criteria. At 599 meters (1,965 feet), it is now officially the second tallest building in China and the fourth tallest in the world, behind only the Burj Khalifa, Shanghai Tower and Makkah Royal Clock Tower.
Designed by Kohn Pedersen Fox Associates (KPF), the Ping An Finance Center is located in the heart of Shenzhen’s Fuitan District. The building contains over 100 floors of office space located above a large public podium, with a multi-story atrium providing retail, restaurants, and transit options to the city and greater Pearl River delta region.
The CTBUH describes the form of the tower as a “taught steel cable, outstretched by the sky and the ground at once. At the top of the tower, the façade tapers to form a pyramid, giving the tower a prismatic aesthetic.” The form is further emphasized by eight composite “megacolumns” along the building envelope that streamline the building for improved structural and wind performance, reducing baseline wind loads by 35 percent.
The facade of the building is one the project most innovative features; its use of 1,700 tons of 316L stainless steel makes the envelope the largest stainless steel facade system in the world. The specific material was chosen for its corrosion-resistance, which will allow the building to maintain its appearance for decades even in the city’s salty coastal atmosphere.
Read more about the project here .
News via CTBUH .
Written by Patrick Lynch.
Want more from ArchDaily? Like their Facebook page here .
Large raised earth “Lily Pads” by KPF will help stop future floods at NYC’s Red Hook Houses
The project was commissioned by the New York City Housing Authority (NYCHA) and was a recipient of the Merit distinction in the Urban Design category; the New York chapter of the AIA identified KPF’s work as an “outstanding design.”
Collaborating with Philadelphia-based landscape architects OLIN, KPF worked out a master plan that will serve as part of a contingency plan in response to the devastation Red Hook faced after Hurricane Sandy struck in 2012. After conducting community research, including surveys, workshops, forums, KPF now aims to install 14 “utility pods” that would provide heat and electricity to each building as well as doubling-up as a gathering place for public programs.
In addition to this, a “Lily Pad” design will act as a flood barrier, using raised earth in the middle of internal courtyards, aided by an active flood wall with passive barriers. As renders depict, these spaces will become mounds where people can sit and relax. All in all, KPF’s scheme will span 60 acres and service 2,873 residences. “These elements transform the experience of residents and guests by providing vibrant, social spaces in conjunction with the area’s infrastructural needs,” said the architects.
Last year, NYCHA reached out to developers to “finance, design, construct, and operate a campus-scale heat, hot water, and electricity generation and delivery network” that will supply 28 buildings housing 6,000 residents in the area. To aid the effort, the micro-grid will let the NYCHA produce its own energy and link up with the Red Hook Community Microgrid scheme .
Projects recognized by the AIANY Awards will be on show at an exhibition at the Center for Architecture from April 21 through June 20, 2017.
Jeffrey Shumaker joins KPF as director of urban planning and design
Shumaker comes to the firm’s New York office fresh from his role as the chief urban designer at DCP, a job he held for a decade. In that position, he played a crucial role in planning neighborhoods like Queens’s Hunters Point South, Manhattan’s Midtown East, and Brooklyn’s Coney Island. He holds dual masters in architecture, planning, and urban design from MIT and a bachelor of architecture from Syracuse University.
At KPF, he will extend and deepen the firm’s planning projects through the KPF Urban Interface , a data analytics–driven initiative to design and plan cities, as well as work locally and internationally in the vein of projects like Hudson Yards and Korea’s New Songdo City.
“I am very excited to join KPF to help lead their master planning and urban design efforts globally, applying my experience in New York and other urban centers to their ongoing and upcoming projects around the world,” Shumaker said, in an emailed statement to The Architect’s Newspaper. “I look forward to bolstering the firm’s expertise in shaping and enhancing the public realm, much as I have done over the past ten years working for the City of New York. I’m thrilled to be returning to the private sector and to be working within an architecture practice that is deeply experienced in and well-respected for creating some of the world’s most complex and interesting urban places.”
Renderings unveiled of Miami’s future tallest skyscraper
Tibor Hollo, developer and president of Florida East Coast Realty (FECR), recently indicated a 40-month construction timeline for One Bayfront Plaza, a 92-story tower in downtown Miami designed by New York City–based Kohn Pedersen Fox ( KPF ).
In an interview with The Next Miami, Hollo referred to the project as “the building of the future,” touting its 104,000 square feet of retail space and direct connection to the Metromover transit station across Biscayne Boulevard. The tower will stand 1,049 feet tall, curtailed only by the Federal Aviation Administration which limits the maximum buildable height in Miami’s urban area. However, despite this limitation, One Bayfront Plaza will be Miami’s tallest tower, soaring a couple hundred feet higher than the imminent Panorama Tower, which will apex at 868 feet when completed. (Miami-based Arqitectonica is also designing an 80-story tower in nearby Brickell, though no word on its exact height yet.)
Apart from its superlative height, the tower also breaks formal ranks: It’s shaped with sinuous contours that contrast with the rectilinear silhouettes of downtown. The tower starts as a triangle at the base and seemingly twists as it rises into the air. According to Hollo, the tower will house more than 900 living units, a 200-key hotel, and 532,000-square-feet of office space. Construction is set to begin in January 2019.
Public art component added to San Diego’s “Super Prime” Pacific Gate development by KPF
A new public art installation by Jaume Plensa , the artist behind the Crown Fountain in Chicago’s Millennium Park, has been commissioned to adorn a plaza at the foot of the Kohn Pedersen Fox Architects (KPF)-designed Pacific Gate development in San Diego .
The sculpture, made with stylized characters from the Latin, Hebrew, Greek, Cyrillic, Arabic, Japanese, Chinese, and Hindi alphabets and inspired by the roots of rainforest trees, will stand about 25-feet tall. It takes the shape of a seated individual looking out over the Pacific Ocean.
The sculpture was commissioned by Bosa Development, the firm behind the project, specifically to compliment the new tower. It will adorn the public plaza beneath the so-called “Super Prime,” 41-story high-end condo tower. Residences in the development are being priced between $1.1 million and $2.8 million for two-bedroom and three-bedroom units, respectively. The 215 units contained within the tower will run between 1,240-square feet and 2,608-square feet in size and will feature interior design by Hirsch Bedner Associates (HBA), a group known mostly for high-end hotel interiors.
Overall designs for the tower echo the form of a sea shell, with the facade of the tower taking the shape of a pair of conjoined, nested-curve-shaped towers designed to maximize outward views from each unit. The residences are to be located above a three-story parking and retail podium that will house 16,000 square feet of retail space and 460 parking stalls.
Interiors will feature automated climate, lighting, and window treatments that can be controlled via smartphone or tablet. The units will also feature custom-designed kitchens by HBA, with cabinets made from “grain-matched cathedral veneer hewn from single lengths of wood,” as well as custom kitchen hardware, also by HBA, as well as quartz countertops and appliances by Wolf, Sub-Zero, and Miele. The project’s master bathrooms will contain polished stone floors and stone mosaic walls.
Vancouver, Canada—based Chris Dikeakos Architects acted as architect-of-record for the project. The Pacific Gate development is expected to finish construction toward the end of 2017.
Richard Meier, Rafael Viñoly, and KPF will each design a tower in this Manhattan development
Located between 61st Street and 59th Street, and next to the Henry Hudson Parkway, the newly-announced multi-tower “Waterline Square” development will stand among an interesting set of neighbors.
On the other side of 61st Street is One Riverside Park of “poor door” infamy ; across 59th street is the IRT Powerhouse, a massive Stanford White-designed steam production facility operated by ConEd (it was originally a subway power station). And just south of the IRT building—with its massive 240-foot-tall smokestack, the last of six originals —is Bjarke Ingles Group’s hyperbolic paraboloid Via 57 .
Waterline Square—which is being developed by the Boston-based GID Development Group, owner of two nearby residential developments —will feature three glassy towers: One Waterline Square (Richard Meier and Partners Architects), Two Waterline Square (Kohn Pedersen Fox Associates (KPF)), and Three Waterline Square (Rafael Viñoly Architects). “Together, we are transforming one of the last remaining waterfront development sites on the Upper West Side of Manhattan, into a new, vibrant neighborhood,” said James Linsley, president of GID Development Group, in a press release. Waterline Square will occupy the final large empty lot on Riverside Park South , which stretches from 72nd to 59th Street.
The towers’ luxury condominiums will be accompanied by “100,000 square feet of best-in-class sports, leisure, and lifestyle amenities, as well as a beautifully landscaped park and open spaces spanning nearly 3 acres,” according to the press release. The new park will contain “a playground, fountains, and waterfalls.” Construction actually began on Waterline Square in 2018 but this appears to be the first major release of the project’s details and renderings. For more details, see the development’s website here .
- Slide 1
- Slide 2
- Slide 3
- Slide 4
- Slide 5
- Slide 6
- Slide 7
- Slide 8