Paul Clemence has just released his latest photographs of the Studio Gang-designed 11 Hoyt tower in Downtown Brooklyn, New York. Almost completed, the residential development is characterized by an eye-catching crafted precast concrete and glass façade.
Photographer Paul Clemence has shared with us a series of new photographs of a nearly completed 130 William development by Adjaye Associates. The firm’s first residential tower in the USA, topping out in the spring of last year at 800 feet, is located in the Financial District of Lower Manhattan, New York.
All space must be attached to a value, to a public dimension. There is no private space. The only private space that you can imagine is the human mind.
– Paulo Mendes da Rocha, May 26, 2004
Paulo Mendes da Rocha is one of Brazil's greatest architects and urbanists. Born in Vitória, Espírito Santo in 1928, Mendes da Rocha won the 2006 Pritzker Prize, and is one of the most representative architects of the Brazilian Paulista School, also known as "Paulista Brutalism" that utilizes more geometric lines, rougher finishes and bulkier massing than other Brazilian Modernists such as Oscar Niemeyer.
The winner of the Wolf Prize in 2005 and the Pritzker of 2008, French architect Jean Nouvel has attempted to design each of his projects without any preconceived notions. The result is a variety of projects that, while strikingly different, always demonstrate a delicate play with light and shadow as well as a harmonious balance with their surroundings. It was this diverse approach that led the Pritzker Prize Jury in their citation to characterize Nouvel as primarily "courageous" in his "pursuit of new ideas and his challenge of accepted norms in order to stretch the boundaries of the field."
The Centre Le Corbusier, the final project of renowned architect Le Corbusier, has reopened to the public in Zurich following an extensive renovation. Completed in 1967, the scheme is only of the only Le Corbusier buildings to be constructed almost entirely from glass and steel: realizing his concept of the synthesis of architecture, life, and art in real life.
The SHoP Architects-designed 111 West 57th Street has witnessed a major milestone with the topping out of its reinforced concrete superstructure, as reported by New York YIMBY. The supertall scheme, measuring 1428-feet-tall, will be the second-tallest building in New York City by roof height, and the most slender tall building in the world.
The ‘Super Tall and Skinny’ NYC Tower 111 W 57 by SHoP Architects is forging ahead as seen in this photographic construction update by Paul Clemence from Archi-Photo. In the photos, the glass and terracotta facade seems largely complete, casting beams of light into New York's notoriously valley-like streets. SHoP's ultra-thin residential tower, which is set for completion this year, will rise above the Empire State Building and even One World Trade Center, taking a bird's eye view over the entirety of the city skyline.
New photographs by Paul Clemence from Archi-Photo show BIG -Bjarke Ingels Group’s “The Eleventh” taking shape as construction continues in Chelsea, Manhattan. Having topped out in August 2018, the scheme’s twisting geometries are taking their place within the “Pritzker District” with neighbors including Frank Gehry’s IAC Building, Jean Nouvel’s 100 11th Avenue and Foster + Partners’ 551 West 21st Street.
The development’s larger 35-story, 400-foot-tall structure will twist alongside a second 300-foot-tall sister tower, both clad with bronze and travertine, sharing a connected podium and skybridge.
Paul Clemence of Archi-Photo shares rare images of the house of Pierre Jeanneret in Chandigarh. The photographer described the experience in an article published in Modern Magazine, which is republished below with permission.
Chandigarh, India’s modern planned city, is most commonly associated with the pioneering modernist master Le Corbusier, who conceived the radical urban plan and most of its important civic buildings. But credit is also due to the architect’s younger cousin and long-time collaborator, Pierre Jeanneret, who turned Le Corbusier’s sweeping vision into a reality. The cousins had worked extensively together, sharing a common, forward-thinking design sensibility. Appointed to senior architect, the Swiss-born Jeanneret oversaw the ambitious project on the ground and proved himself particularly skilled at connecting with the professionals and local community alike. “Effectively, he is respected like a father, liked as a brother by the fifty or so young men who have applied to work in the Architect’s Office,” wrote Corbusier in praise of his cousin.
Photographer Paul Clemence of ARCHI-PHOTO has shared images of 56 Leonard Street by Herzog & de Meuron. Nearing completion, the 60-story residential tower will be the tallest structure in Tribeca when it opens later this year. The concept of 56 Leonard Street is to disrupt the monotony of typical high-rise city buildings with a more varied articulation achieved by stacking recognizable individual houses. Shifted floor slabs create differentiated corners, cantilever, and balcony conditions that provide apartments with their own unique characters. Developed from the inside out, the pixelated rooms are arranged such that the base of the tower reacts to the street conditions and ripples upward to merge with the sky.
Read on for the full photo set.
A century since the founding of the National Memorial Association and the start of a campaign by African-American war veterans for a monument of African American culture, the National Museum of African American History and Culture will finally be opened on September 24th. The Museum took $540 million and four years to build, resulting in a striking, and refreshingly unorthodox, architectural construction on Washington DC’s National Mall. The Freelon Adjaye Bond/SmithGroup JJR team, led by Ghanaian-British architect David Adjaye, defiantly broke the white-marble-Corinthian-column convention, opting instead for a bronze-coated aluminum façade bound to provoke a reaction from the critics.
Andy Klemmer has had a front-seat view of the making of some of the most important pieces of architecture of our time. The president and founder of the consulting firm Paratus Group, Klemmer was an essential part of the team that helped develop the iconic Guggenheim Bilbao. Since then, he’s gone on to consult on the California Academy of Science, the Perez Art Museum Miami, the Kimbell Art Museum expansion, working with architects like Renzo Piano, Herzog & de Meuron, and SANAA (to name a few). By liaising between institutions and their chosen architects, he has unique insight into architecture, its practice, and that essential part of the architecture puzzle: the client.
Gallery: David Adjaye's National Museum of African American History and Culture Photographed by Paul Clemence
Photographer Paul Clemence of ARCHI-PHOTO has shared with us images of Adjaye Associates' nearly-completed Smithsonian National Museum of African American History and Culture. The building draws inspiration from the nearby Washington Monument, mirroring the 17-degree angle of its capstone in the museum’s tiered corona. Adjaye has described the building’s ornamental bronze lattice as “a historical reference to African American craftsmanship.” The skin can also be modulated to control the transparency and amount of sunlight reaching the interior spaces. The building will open to the public on September 24, 2016.
Continue on for Clemence’s full photoset.
In a culture dominated by smartphones and Instagram, with estimates that over one trillion photographs will be taken this year alone, it might seem impossible for photographs to make and shape issues in the ways they once did. Despite this, images still steer debates with shocking resiliency and, with luck, become iconic in their own right. As architecture is synonymous with placemaking and cultural memory, it is only logical that images of the built environment can have lasting effects on the issues of architecture and urbanism. It's never been easier for photographs to gain exposure than they can today, and with social media and civilian journalism, debates have never started more quickly.
Renzo Piano has designed a limited-edition handbag for the Italian fashion brand Max Mara to match his newly completed Whitney Museum of American Art in New York. The leather, top-handle bag, inspired by the "pure design and sophisticated materials" of the Whitney, features distinct ribbing inspired by the museum's facade.
"Our aim was to apply one of the most characteristic elements of the museum project - the facade - to the bag: hence the idea of the modular strips enveloping the exterior," said Piano in an interview with Max Mara. "We tried to maintain a simple, pure design, working only on the details by applying a creative use of technology and placing the accent on respect for the materials."
According to the New York Post, Renzo Piano has been commissioned by Michael Shvo and Bizzi & Partners to design his first US residential tower. Planned to rise in the southern Manhattan district of Soho at 100 Varick Street, the Piano-designed tower will include up to 280,000 square-feet of housing and reach nearly 300 feet. Featured amenities include a "gated private driveway" and "automated parking." Stay tuned for more details.
Depending on how you measure it, Renzo Piano's new building for the Whitney Museum of American Art in New York (designed in collaboration with New York practice Cooper Robertson) could be the most long-awaited museum of the 21st century. At just a fraction under seven years since the first designs of the building were released, the incubation period has been long enough on its own - but in fact the project has its roots in a scrapped 1981 design by Michael Graves, when the Whitney was instead planning an extension to their previous home in Marcel Breuer's 1966 masterpiece on Madison Avenue. With such a highly anticipated building, the Whitney could hardly have a better man for the job; Piano is one of the most prodigious museum builders of our time. Yet despite this, since construction began in 2011 the design has been beset by criticism for its ungainly external appearance.
Ahead of the Whitney's grand opening on May 1st, this past Sunday saw a slew of reviews from New York's many reputable art and architecture critics, who attempted to make sense of the institution's long-overdue move from their idiosyncratic but endearing former home. We've rounded up some of the best of them, after the break.