It's known as Eleven Eleven, and it has changed people’s perception about what a utilitarian structure can be; and has ignited conversations worldwide about its design and use. This garage has reshaped the urban fabric of the city and people are going there to get married, relax, and enjoy a cocktail. — vimeo.com
With a press conference held on the construction site today, the Fondazione Giangiacomo Feltrinelli celebrates the ground-breaking for the new Porta Volta. The project comprises the 2’500 sqm Fondazione Giangiacomo Feltrinelli, an 7’500 sqm Office Building and a generous 15’000 sqm Green Area. — herzogdemeuron.com
Four years of construction is expected to begin next week on the long delayed 56 Leonard Street, the 830-foot-high residential tower announced four years ago for the southwest corner of Church and Leonard streets. For more than three years, the building's completed foundation has sat barren while the recession-stymied developer, the Alexico Group, sought financing to complete the project. — tribecatrib.com
For the latest edition of the Working out of the Box series, Archinect featured Ioana Urma. Ioana has completed a number of (public) art projects – murals, installations and other media and also does freelance commissions, ranging from 2D to 3D: books, illustrations, interiors, art...
The new building cost about $26 million to build—70 percent below the previous budget. But is less less? When the new plan was announced, Nicolai Ouroussoff, writing in the Times, thought so, calling it "a major step down in architectural ambition."
Ouroussoff was wrong. True, no one can know what the "cluster of pavilions" would have looked like. I can only report that the rectangular building is a triumph. The materials are gorgeous. — archrecord.construction.com
Since it was finished half a dozen years ago, Herzog & de Meuron's 40 Bond Street has become one the foremost icons of the current generation of New York City architecture. Or so the design cognoscenti think. But what about everybody else? Among average New Yorkers, opinions are mixed in this funny video. One guy who definitely does not like the place is a cranky old neighbor from down the block. — New York Observer
Ai Weiwei has never set foot inside the [Bird's Nest].
He told NPR that the stadium has become entirely divorced from ordinary people.
"We love this building, but we don't like the content they have put in, the kind of propaganda. They dissociated this building [from] citizens' celebration or happiness, [it's] not integrated with the city's life," Ai said. "So I told them I will never go to this building." — npr.org
The Serpentine Gallery Pavilion in London, designed by Swiss architects Herzog & de Meuron and Chinese artist Ai Weiwei, was presented to the press today before it will officially open to the public tomorrow, June 1. — bustler.net
Since Chinese officials had put Ai Weiwei on 'city arrest' in his hometown Beijing, he was not able to attend the ceremony together with his design collaborators Jaques Herzog and Pierre de Meuron. Weiwei was however allowed to send a recorded statement: “As an artist, I’m always very...
The latest Showcase feature profiles the Summer House in Austria by Judith Benzer Architektur, the design of which is oriented by the cubature of the Kellerstöckel (wine house), typical of the Southern Burgenland region. stroke123 liked it but wondered "how does the roof shed water? Waterproof membrane and concealed gutters and downspouts?".
The latest Showcase feature profiles the Summer House in Austria by Judith Benzer Architektur, the design of which is oriented by the cubature of the Kellerstöckel (wine house), typical of the Southern Burgenland region. I particularly loved the detailing for sharp edges of the cubature...
London's Serpentine Gallery just released plans for the 2012 Serpentine Gallery Pavilion designed by Herzog & de Meuron and Ai Weiwei. This summer's pavilion, the twelfth commission in the gallery’s annual series, will be open to the public from June 1 to October 14, 2012. — bustler.net
The site of 425 Park Avenue now awaits its fate as a star-studded line-up of prospective architects compete for the chance to helm the $750 million project. L&L Holding Co. has tapped Jean Nouvel, Herzog & de Meuron, Foster & Partners, Zaha Hadid, Rem Koolhaas, Richard Meier, Renzo Piano and others with high hopes to create a "bespoke skyscraper that will both complement Park Avenue's existing architectural treasures and make its own indelible mark in the world's most timeless office corridor".. — artinfo.com
The city was initially prepared to contribute €77 million to the project – but this figure has since gone up by nearly five times to more than €323 million – more than half the expected €600 million total cost. And the original completion date of 2010 has been pushed back to 2014.
The building’s designers had underestimated certain costs – such as an acoustic panelling for the main concert hall which cost five times as much as expected, adding more than €10 million to the bill. — thelocal.de
In this uniformity, I see a tendency among architects to respect and maintain the status quo, and a consensus about what architecture is and can do for our society. That’s the expression of a decorative understanding of architecture, even if it expresses itself in a subtle, modernist language. (Jacques Herzog) — Places Journal
The Herzog & de Meuron and Ai Weiwei collaboration – the 12th pavilion – breaks the mould of the sequence so far as the criterion for the commission had been for an architect not to have built in England. But Herzog & de Meuron are also deeply engaged in the art world, having built the Walker Art Centre in Minneapolis and the de Young Museum in San Francisco. They are currently working on art museums in New York, Miami and Kolkata. — ft.com
The architects recognize that the armory as an exhibition space is a far cry from conventional “white cube” galleries, or what Mr. Herzog called “egocentric, architecturally driven museums.” But he said the spaces are likely to inspire artists, not limit them. “Artists have increasingly started to like strange places to put their art,” he said. “The specific conditions are unique and interesting and every artist is challenged to put his paintings or performances in such historic conditions.” — New York Times
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