One of my developer friends — who I would say has similar design tastes to my own — once said to me, "If I like it [the design], I often assume that the general public won't." What he was getting at is that architects and designers often appreciate buildings and spaces for different reasons.

For us (if I can say this without the OAA sending me another legal letter), it is often about things like the intellectual rigour behind the work, the "honesty" of the materials, and the greater social and historic context, rather than just "this has nice curb appeal."

So with that, I'm now going to go out on a limb and suggest that these converted industrial towers in former East Berlin fall into the category of "probably not for everyone." Built in the 1950s by the German Democratic Republic (GDR) to process graphite, and later abandoned after the fall of the Berlin Wall, the property was eventually privatized in the 1990s to raise money for the state.

Then, between 2018 and 2021, architecture practice b+ — which has made a name for itself transforming old Brutalist buildings into super cool live-work spaces — reworked the interiors to create a workshop for itself.

The two industrial towers are 37.2 and 42.6 metres tall. And since their volumes reminded architect Arno Brandlhuber of the towers of San Gimignano, that became the project's name. The site area is 960 sqm, the usable floor area is around 300 sqm, and the entire property is for sale for €1,700,000. There's also future development potential!

I personally love the project. If Globizen were to have an office in Berlin, I'd want it to be here. But hey, what do you think?

Photos by Future Documentation

At the end of this month, the last tenants will vacate the Tour Montparnasse in Paris to make way for its renovation. Nouvelle AOM, a collective of architects formed to respond to the project's international design competition, first won the commission back in 2017. And initially, the plan was to complete the renovation in time for the Paris Olympics in 2024.

But that time came and went, as it does, and now construction is starting this year. Nouvelle AOM, which includes Franklin Azzi Architecture, ChartierDalix Architectes, and Hardel Le Bihan Architectes, is in charge of the tower. And Renzo Piano Building Workshop is in charge of redesigning the commercial podium at the tower's base.

We've spoken about the Tour Montparnasse many times over the years on the blog (here, here, and here). Parisians customarily hate it, and after visiting it in 2023, I can confirm that it's desperately in need of a renovation, and that the ground plane experience is abysmal at best. It is of that era where grandiose "slab-based planning" was going to elevate us beyond the pathologies of fine-grained urbanism.

Here's a Google image from atop the site's enormous podium:

What's interesting about the design from Renzo Piano is that it will reuse a lot of the structure that's already in place. The plan is to carefully open up the site, stitch it back together with the surrounding urban context, and then build up from there. Importantly, at the centre of the project will be a large, planted piazza that is intended to become a new civic space for the community.

The project renovations are expected to last until "at least 2030." So, we have several years until we'll know if it's an urban and financial success. But my prediction is that this project will positively transform how Parisians think about the Tour Montparnasse, and maybe how they think about tall buildings.

The tower itself will, of course, need to be beautiful. It's a highly visible object. There's only a trifecta of buildings and structures inside Paris proper that exceed 150 meters in height: the Eiffel Tower, Tour Montparnasse, and the Tour Triangle (Herzog & de Meuron), which is currently under construction and expected to finish this year. In this case, architecture is not irrelevant.

But it is the ground plane experience that will ultimately revitalize the area and demonstrate that tall buildings can be good urban neighbours, even in a sea of Haussmannian mid-rise buildings. I've said before that the reconfiguration of the podium is arguably the project's most crucial design move.

Get it right and you'll see what happens.

Cover photo by Luxigon via Nouvelle AOM

Aerial and street view photos from Google

Model photos from Renzo Piano Building Workshop

A few weeks ago, we spoke about the dramatic change that Toronto's East Bayfront has undergone over the last two decades. It's now a place. I also shared a time-lapse video from Waterfront Toronto showing how the Parliament Slip was landfilled in order to improve the street network in this area. If you missed it (and you like to nerd out on construction), it's worth watching.

In addition to this, Waterfront Toronto has (just?) released this interactive website showing in more detail what's planned for the Quayside area. And if you make it all the way to the end of the experience, you'll land on the below image, which shows some towers and the site earmarked for a school and potential cultural destination.

Clicking on the site leads to this pop-up:

Schools are obviously critical. Education is the number one predictor of household wealth. Build it. But I also think it's important that we take advantage of this opportunity to build a truly remarkable cultural destination on Toronto's doorstep. This is an opportunity for a globally recognized symbol that elevates the city's brand, drives tourism, and serves as an economic development catalyst.

So I would like to encourage those in charge to take this seriously. (If Globizen can help in any way, give us a call.) The right way to do it would be to host an international design competition and put the challenge to the world's best architects. This is not the time or place to be timid. Rather, it's the time and place to beat our chests. This could be a Sydney Opera House or Bilbao moment.

Actually, it could be something even greater: The Toronto Effect.

Cover photo by Antonio Gabola on Unsplash