The 2013 RIBA Norman Foster Travelling Scholarship has recently been launched and is inviting applications from schools of architecture around the world. Proposals for research might include: learning from the past to inform the future; the future of society; the density of settlements; sustainability; the use of resources; the quality of urban life; and transport. A £6,000 grant will be awarded to one student by a panel of judges which includes Lord Foster and the President of the RIBA. The deadline for submissions is Friday, April 26. For more information, please visit here.
On the advice of English Heritage, architecture minister Ed Vaizey has listed Norman Foster’s first major public building: the 1977 Sainsbury Centre at the University of East Anglia, Norwich, in the United Kingdom. According to BDOnline, the popular public art museum, which houses the collection of Lord and Lady Sainsbury, was granted grade II* protection for its innovative engineering, fine design, historic association, flexibility and group value. Its revolutionary design features an innovative, prefabricated modular structure that is cleverly designed to allow for subsequent extension.
Vaizey described: “Norman Foster’s design for the Sainsbury Centre is recognized around the world as a high point of the British ‘high-tech’ movement and, by any standards, a modern classic.”
Read Foster’s response after the break.
The New York Public Library (NYPL) has unveiled the details of their controversial plan to renovate the 20th century, Carrère and Hastings “masterpiece” on 5th Avenue. Designed Foster + Partners, the $300 million dollar proposal is a response to the cultural shift from traditional stacks to online resources, as the library has experienced a 41% decrease in the use of collections over the last 15 years.
Sensitive to concerned critics, the renovation promises to preserve the building’s legacy as it integrates a new, state-of-the-art Circulating Library into its flagship Stephen A. Schwarzman Building on 42nd Street. Foster’s “library within a library” will transform seven floors of stacks, currently occupying the back of the building, into an aesthetically, technologically and environmentally advanced public space that meets the needs of our 21st century society.
“We need to be respectful of the beloved, iconic building and to create a new inspiring space,” Anthony W. Marx, the library’s president, said in an interview with the New York Times. “At a time when people wonder about the future of libraries, we’re going to create the greatest library the world has ever seen.”
Learn all the details and see the renderings after the break…
The New York Public Library has a plan to save millions of dollars, improve efficiency, and reverse the cutbacks that have been plaguing it. How? By sending little-used resources off-site (after all, most people use the library for its online resources these days), the Library will consolidate three libraries into one Mid-Manhattan branch, renovating the building with a streamlined, efficient design – courtesy of Foster + Partners - to create “the largest combined research and circulating library in the country.”
It sounds like a wonderful, modern solution. Ms. Ada Louise Huxtable would beg to differ.
The former New York Times architecture critic and current critic for the Wall Street Journal has come out swinging against the plan. First, she builds on the critique that others have made, that by moving volumes off-site (to New Jersey, or “Siberia, as she puts it) to make room for more modern amenities, the library will devalue its primary purpose (making resources readily accessible). To put it another way, as Scott Sherman did in his article for The Nation, it would turn the library into “a glorified internet café.” Then, Huxtable makes her own argument: that removing the current, intricate system of stacks would be an enormously complex, expensive, and hopelessly misguided structural challenge.
But, ultimately Ms. Huxtable’s argument comes down to the intrinsic architectural and cultural value of this Beaux Arts Masterpiece: “You don’t “update” a masterpiece.”
More on the Ms. Huxtable incendiary critique of The New York Public Library’s Central Plan, after the break…
A few months ago we informed you about a competition to re develop the massive “wedding-cake” style building at 425 Park Ave in NY, near Mies’ Seagram Building and SOM’s Lever House. The objective of the developer, L&L Holding, was to turn this project into the next iconic building of the city, and for that they invited a group of eleven renowned practices, including ten Pritzker laureates.
The shortlist was announced in October, and included OMA, Rogers Stirk Harbour + Partners, Zaha Hadid Architects and Foster + Partners, which was later announced as the winner of the competition a few weeks ago.
Over the last days, the presentations of the architects to the clients appeared on YouTube, and now we have the opportunity to see these interesting group of architects doing a fundamental part of their work. In the videos we see each architect using their own presentation style, either a PPT, video or just physical boards, connecting it to the practice’s research and discourse, projecting their passion about certain features of their projects and engaging with the client around their main objective: to turn this into an iconic project.
Four videos that take us further into how we understand projects, showing insights that we often don’t have access to, turning the competition into a particular moment of architecture this year.
Zaha Hadid Architects, OMA and Rogers Stirk Harbour + Partners presentations after the break:
About a decade’s passed since Foster+Partners won the competition to re-design Avery Fisher Hall (as part of Lincoln Center’s campus-wide re-haul, designed by Diller Scofidio + Renfro), and the famous music hall is finally ready to go through with it – just not necessarily with Foster+Partners.
After Lincoln Center and the New York Philharmonic failed to raise the $300 million they needed to cover construction costs, and due to concerns that displacing the orchestra would jeopardize potential revenue, Foster+Partners’ plans languished. However, the Philharmonic is now under new leadership, and its young directors are anxious to transform the conventional music hall, hence why they’ve decided to solicit new proposals for the building.
As the Orchestra’s new executive eirector, Matthew VanBesien, told the New York Times: “If you’re not thinking about the way in which our art form and music and audiences are evolving, you’re not serving the art form long term. You really want to build this next great hall in a new way, to do the kinds of things you maybe are doing but want to do in a more compelling way or maybe can’t even imagine yet.”
More info about the proposal for the new Avery Fisher Hall, after the break…
As we announced in early October, British powerhouse Foster + Partners have been declared as winner of the six-month long, all-star competition to design the next “landmark” high rise on the prime site of 425 Park Avenue in New York City. The tapered, steel-frame office tower is planned to rise 687 feet to claim a spot on the New York City skyline by 2017. Upon competition, the world-class high rise is expected to achieve LEED Gold status and serve as an exemplar for sustainable office design.
Foster’s concept succeeded visions from Rem Koolhaas, Zaha Hadid and Richard Rogers (view all the proposals here). Construction is expected to begin in 2015, shortly after the completion of Foster’s first U.S. residential high rise, which broke ground this week in New York.
Details of 425 Park Avenue after the break…
50 UN Plaza, Foster+Partners‘ first residential building in the U.S., broke ground this morning. With the Hearst Tower long finished, Tower 2 at Ground Zero near complete, and a new iconic building planned for 425 Park Avenue, 50 UN Plaza will only further solidify Lord Foster’s mark on New York City.
The 44-story luxury tower’s privileged spot at the United Nations Plaza will give it remarkable views of the UN Building, the East River, and the Manhattan skyline. According to Foster, the building’s deep bay windows (which line each of the tower’s 3 volumes) will maximize that view and, along with its steel and glass facade, give the tower a distinctive, “jewel-like quality”: “The slender proportion of 50 United Nations Plaza is attenuated by the vertical stacks of bay windows, which give it a distinctive identity[...] The polished stainless steel detailing of the facade is in the sprit of earlier historic towers in the city and it reflects the sharp quality of light which is special to New York.”
The building, whose construction will incorporate recycled materials, also has a strong environmental agenda, combining active and passive energy strategies. According to the New York Observer, the tower’s 87 units will range in size from 1,100 square feet one-bedrooms; three bedrooms as big as 3,000 square feet; full-floor residences; and a penthouse duplex, measuring about 10,000 square feet. One of the marquee features will also be a private driveway. The tower is expected to cost $500 million and be completed in 2014.
Foster+Partner’s description of 50 UN Plaza, after the break…
Indeed, entering the Main Concourse of Grand Central Terminal is a pleasure that rivals few others. For me, it took me by surprise: walking, as New Yorkers do, in a determined beeline through an undistinguished tunnel, I was suddenly struck by light. I stopped, as New Yorkers never do, to observe a vaulted, starry ceiling, the changing light, and multitudes of people whipping by.
Grand Central is one of New York’s most beloved icons, one of the few which tourists and natives share alike. Which is not to say, of course, that it isn’t in need of a face-lift.
The Terminal’s upcoming centennial, which corresponds with proposed re-zoning laws that would completely change the face of Midtown, makes now the perfect moment to consider how Grand Central’s grandeur can be preserved and its neighborhood reinvigorated. Last week, the Metropolitan Art Society (MAS) invited three firms to share their visions – and while SOM’s gravity-defying “halo” may have stolen the show, only one truly captured the spirit of Grand Central, and explored the full potential of what it could – and should – one day be.
Only weeks after revealing their designs for 425 Park Ave., soon to be New York’s latest “Iconic” Building, Foster + Partners have now taken a stab at one of New York’s oldest iconic buildings: Grand Central Station.
Yesterday, at the MAS 2012 Summit, Norman Foster was one of three architects to present his re-imaginings of the station, which turns 100 this February. Unfortunately, it hasn’t borne its age well. Designed to support 75,000 people a day, Grand Central, one of the world’s busiest transport hubs, routinely handles about ten times that much (and even a million on peak days). With the upcoming LIRR East Side Access and plans to re-zone the area, now is the time to re think this building’s future.
Foster + Partners has developed tremendous expertise in transit programs, having designed some of the world’s largest airports, viaducts, subway stations – even a spaceport (perhaps there’s no better example of their facility for tackling enormous infrastructure challenges than their proposal for the Thames Hub). That expertise shows in their vision for Grand Central, which eases accessibility and mobility by widening concourses, improving entrances, enlarging public spaces, and reconfiguring streets in favor of pedestrian traffic – bringing, in their words, “clarity back to Grand Central Terminal.”
More about this project from Foster + Partners after the break:
Norman Foster is undoubtedly one of the most influential architects of our time. Since establishing his award-winning practice in 1967 – originally titled Foster Associates – the Pritzker Prize laureate has grown Foster + Partners into an international powerhouse, with project offices in more than twenty countries.
The Manchester native has become known for contributing well-designed, imaginative solutions to complex design problems, while remaining sensitive to the environment and embracing the highest technological standards. His diverse portfolio ranges from urban masterplans, public infrastructure, airports, civic and cultural buildings, offices and workplaces to private houses and product design.
As stated in the 1999 Pritzker Jury Citation, “Sir Norman Foster’s pursuit of the art and science of architecture has resulted in one building triumph after another, each one in its own way, unique.”
Foster + Partners has received nearly 500 awards and citations for excellence and has won more than 86 national and international competitions. Some of Foster’s greatest achievements include receiving the 21st Pritzker Architecture Prize in 1999, the American Institute of Architects Gold Medal for Architecture (1994), the Royal Gold Medal for Architecture (1983), and the Gold Medal of the French Academy of Architecture (1991). In 1990 he was granted a Knighthood in the Queen’s Birthday Honors, and in 1999 was honored with a Life Peerage, becoming The Lord Foster of Thames Bank.
Check out the latest projects and news from Foster + Partners here on ArchDaily.
For the 13th Venice Biennale, Norman Foster was invited to create two exhibitions. On the one hand, there’s Central Pavilion, “Hong Kong and Shanghai Bank HQ”, specifically commissioned by David Chipperfield, which presents how a public space, created by physically lifting a tower to make a space at its base, has been used by people over time.
On the other hand, we find“Gateway.” Located at the beginning of the Arsenale, it is one of the first spaces the public encounters at the Biennale. In this installation, viewers are presented with an intense dose of images and words, representing different types of buildings and spaces, criss-crossed with the names of the architects, designers and planners that have influenced our built environment over the years.
We had the chance to interview Norman Foster, who tells us more about “Gateway” in this video. Full interview coming tomorrow!
More about this exhibit after the break:
From the architects:
The Hong Kong and Shanghai Bank was designed by Norman Foster in 1979. At the core of the project is the attempt to create a civic space, a piece of common ground for the city. Though the building’s design went through many variations – culminating in the final scheme, completed in 1985 – the common denominator throughout was a desire to create a public arena by lifting the building up to ensure a flow of pedestrian movement across the site. This covered space is lit naturally by an external “sunscoop”, which reflects sunlight down through the glazed “underbelly” of an atrium at the heart of the building. Through the medium of models, sketches, drawings, and photographs, this exhibition shows the evolution of the design of the space and the tower that defines it.
Foster + Partners is about to break the mold of New York’s static Park Avenue skyline, as they have been announced as winner of the highly publicized competition to replace the aging tower of 425 Park Avenue with a new world-class, sustainable office tower.
Lord Foster said: “I have a personal connection with New York, which has been a source of inspiration since my time at Yale, when the new towers on Park Avenue and its neighborhoods were a magnet for every young architect. Seeing first-hand the works of Mies van der Rohe, Gordon Bunshaft, Eero Saarinen and Philip Johnson was tremendously exciting then – I am delighted to have this very special opportunity to design a contemporary tower to stand alongside them. Our aim is to create an exceptional building, both of its time and timeless, as well as being respectful of this context – a tower that is for the City and for the people that will work in it, setting a new standard for office design and providing an enduring landmark that befits its world-famous location.”
Continue after the break to learn more about Foster’s winning proposal and to review the existing condition of 425 Park Ave.
Foster + Partners has broke ground on the Hongqiao Vantone SunnyWorld Centre, new dynamic mixed-use community centered on a four-hectare public park in the heart of Shanghai Hongqiao CBD. The large-scale urban plan that extends from Shanghai’s main station and brings together highly efficient, flexible office buildings, animated at ground level by shops, restaurants and a range of new civic spaces.
Continue after the break to learn more.
With last year’s opening of the 9/11 Memorial at Ground Zero and the near-completion of the World Trade Center One, Daniel Libeskind’s vision for the World Trade Center site is close to presenting the future of NYC’s downtown financial center, 11 years after the attacks. Studio Daniel Libeskind was selected to develop the master plan for the site in 2003, and since has been coordinating with NYC’s numerous agencies and individual architects to rebuild the site. The project, in Libeskind’s words, is a “healing of New York”, a “site of memory” and “a space to witness the resilience of America”.
Follow us after the break for more on the elements and progress of the master plan.
Taking place at the Shanghai Oil Painting and Sculpture Institute (SPSI), from July 25 to August 25, the ‘Foster + Partners: the Art of Architecture’ exhibition is the first major survey of the studio’s work to be held in China. It reveals details of a number of new projects underway in the region, including headquarters for Citic Bank in Hangzhou, a new tower in Nanjing and the Vantone development in Shanghai. It is also an opportunity to see the original models and sketches for high-profile completed buildings, such as Beijing International Airport, the Millau Viaduct in France, Hearst Tower in New York and the Swiss Re headquarters in London. More architects’ description after the break.