Presented by the Design Museum in London, the award is given to the project that best meets the criteria of design that “promotes or delivers change, enables access, extends design practice or captures the spirit of the year.”
See more from the overall winner and each of the category winners, below.
This article, originally titled "The Space of Resistance," was originally published on Lance Hosey's Huffington Post blog. It is part of a four-part series about the Smithsonian National Museum of African American History and Culture.
The city can be a powerful form of political myth, and Washington, DC, is the premier example.
Political myths dramatize historical events for ideological purposes, in order to strengthen the authority of the status quo. For example, America’s Founding Fathers often are portrayed as motivated only by a virtuous desire for universal freedom and equality, a simplistic depiction that ignores the complex socioeconomic forces behind the Revolution. The National Mall, its buildings, and its monuments, are America’s foundation myth writ large in stone and space. Manfredo Tafuri called the image of the District of Columbia “a timeless, indisputable, completely ‘positive’ Olympus” whose creation “presupposed great optimism and was thoroughly opposed to any polemical doubt.”
In this sense, the city as political myth is ripe for protest, and the National Mall has been the site of many of the most important protests in American history. Most often, these events consist only of people gathering for demonstration. Sometimes, however, they involve building.
The architectural team comprised of Davis Brody Bond and Kieran Timberlake has unveiled its newest updates on the design for 181 Mercer, a 735,000-square-foot complex for New York University that will replace a 35-year-old gym facility and become NYU’s largest classroom building, as well as a space for performing arts, athletics, and students and faculty housing.
Marks Barfield Architects and Davis Brody Bond have revealed plans for the “Chicago Skyline” an aerial cable car attraction spanning from the Chicago Riverfront to Navy Pier and through Downtown along the Riverwalk. The project, still seeking permission, is meant to enable visitors to experience the fabled Chicago skyline in a new way, viewing the city and lakefront from custom-designed pods or “gondolas”. The design shares many similarities with the pill-like capsules surrounding the London Eye, which was also designed by Marks Barfield Architects. The Skyline is being marketed as a practical solution to link Navy Pier to the transit network within the Chicago Loop.
While Eliel and Eero Saarinen may be the most well known father-son architect duo, they are certainly not the only pair to have left their mark in the field. As far back as the 1700s, the Gabriel father and son dynasty (Jacques V and Ange-Jacques) constructed much of Versailles, and more recently both I.M. Pei and Lewis Davis have passed their legacy onto their sons. In honor of Father's Day, we look at four father-son architecture dynasties and their lasting influence on the profession, after the break.
https://www.archdaily.com/644466/like-father-like-son-4-famous-architecture-dynastiesAD Editorial Team
A destination for both tourists and locals, the expanded museum will open itself to the surrounding community beyond normal operating hours. It will house a multi-purpose space, retail, orientation theatre, changing gallery and educational programs as well as the museum and a bus drop-off on the main thoroughfare.
As the culmination of a five-month selection process, New York University (NYU) has announced that Davis Brody Bond and KieranTimberlake will be designing its major new facility along Mercer Street between Houston and Bleecker in New York. The facility's many uses will include classrooms, teaching spaces for performing arts, a state-of-the-art sports facility, and student and faculty housing.
Set to open to the public on Wednesday after a highly controversial and contested journey from idea to reality, the September 11 Memorial Museum has inevitably been a talking point among critics this week. The museum by Davis Brody Bond occupies the space between the Memorial Plaza at ground level and the bedrock below, with an angular glass pavilion by Snøhetta providing an entrance from above. A long ramp, designed to recall the access ramp with which tons of twisted metal was excavated from the site, descends to the exhibits which sit within the perimeter boundaries of the twin towers' foundations, underneath the suspended volumes of Michael Arad's memorial fountains.
The content of the museum is obviously fraught with painful memories, and the entrance pavilion occupies a privileged position as the only surface level structure ground zero, in opposition to the great voids of the memorial itself. The discussion at the opening of the museum was therefore always going to center on whether the design of the museum - both its built form and the exhibitions contained - were sensitive and appropriate enough for this challenging brief. Read the critics' takes on the results after the break.
Today marked the ceremonially opening of the National September 11 Memorial Museum. Set to officially open to the public next Wednesday (May 21), the subterranean museum has already made headlines for its emotional 70 foot decent to the bedrock of the World Trade Center Towers.
As Snøhetta’s founding partner, Craig Dyker describes, the pavilion’s main purpose is to serve as the “threshold between the everyday life of the city and the uniquely spiritual quality of the Memorial.”
More about the pavilion from the architects, after the break...
With completion in sight (May 2014), Davis Brody Bondhas released detailed information on the design of the subterranean 9/11 Memorial Museum in Manhattan. Located beneath the sculptural voids that form the 9/11 Memorial, the new museum has transformed a fixed set of geometric constraints into an emotional journey that gently descends visitors 70 feet below the ground level to the original foundations of the World Trade Center towers.
In August, we reported a Request for Qualifications for the renovation of Mies van der Rohe's Martin Luther King (MLK) Jr. Memorial Library in Washington D.C. - Mies' only library and the only building in D.C. A few days ago, the District of Columbia Public Library (DCPL) narrowed down the list of potential firms from 26 to 10 and revealed that it was looking for community input on the library's future spaces and services.
The Department of State’s Bureau of Overseas Buildings Operations (OBO) has announced the selection of Tod Williams Billie Tsien Architects and Davis Brody Bond to design the New Embassy Compound (NEC) in Mexico City, Mexico. After an intense round of presentations and interviews, the duo was selected from a talented shortlist of nine architectural/engineering teams. As reported on the Latin American Herald Tribune, the jury believed that “their portfolio of work is compatible to the local culture and shows sensitivity that highlights their connection to the character of the site.”