The firm had never designed a high-rise before. So while their typical approach would be to analyze program, here they were heavily informed by the views – both in and out from the site – as you move up the tower.
The 88 storey tower transitions between two footprints. The base matches the street grid of the city, but as you move up the tower it transforms into a cloverleaf – allowing panoramic views of the city.
It is a somewhat similar approach to what has been proposed by Studio Gang for One Delisle. Except for the transformation here is to a multifaceted cylindrical shape (a
The firm had never designed a high-rise before. So while their typical approach would be to analyze program, here they were heavily informed by the views – both in and out from the site – as you move up the tower.
The 88 storey tower transitions between two footprints. The base matches the street grid of the city, but as you move up the tower it transforms into a cloverleaf – allowing panoramic views of the city.
It is a somewhat similar approach to what has been proposed by Studio Gang for One Delisle. Except for the transformation here is to a multifaceted cylindrical shape (a
From the late 19th century when Chicago began to pioneer the modern skyscraper, architects and engineers have been thinking about how you treat a tall building as you move from top to bottom.
Chicago architect Louis Sullivan responded to this challenge with his tripartite approach to design. He believed that tall buildings should be characterized by three main divisions: a base (bottom), a shaft (middle), and a cap (top).
The technological innovation that allowed this thinking to flourish was the non-load-bearing curtain wall. Once the exterior walls of a tower no longer supported the actual building, architects then had the freedom to really experiment.
This remains true to this day, but we no longer need to confine ourselves to only three parts. New technologies now allow for more.
Today we have parametric modeling and other design tools that allow us to create new geometries and transitions; forms that would have been pretty complex to draw up in the past.
In the case of Fifteen Hudson Yards, every floor plate from 20 something and up is slightly different. I wonder what Louis would think of this.
BIG just announced its first project in South America. It is a 33 storey residential building in Quito, Ecuador. When completed, it will be the tallest building in the city. The developer is Uribe and Schwarzkopf.
Studio Gang has a project currently under construction in New York City called 40 Tenth Avenue. It is also known as the “solar carve tower.” Here are a couple of progress photos taken by Timothy Schenck. The glass is beautiful. (If you can’t see the embedded tweet below, click here.)
Status update from the construction site of 40 Tenth Avenue, our first tower in New York. It’s been exciting watching its progression, especially as the glass is installed on the building’s carved-away form, which is sculpted by the angles of the sun. Photos: @timothyschenckpic.twitter.com/Ks7RqUXEcB
This is one of my favorite buildings by Studio Gang and one that we all studied when we were kicking off One Delisle.
The geometry of the building is a result of carve outs that maximize the amount of sunlight that is able to reach the adjacent High Line (public space). It is form driven by functional logic. Here is a diagram from Studio Gang showing the carve outs that result from the sun’s rays.
From the late 19th century when Chicago began to pioneer the modern skyscraper, architects and engineers have been thinking about how you treat a tall building as you move from top to bottom.
Chicago architect Louis Sullivan responded to this challenge with his tripartite approach to design. He believed that tall buildings should be characterized by three main divisions: a base (bottom), a shaft (middle), and a cap (top).
The technological innovation that allowed this thinking to flourish was the non-load-bearing curtain wall. Once the exterior walls of a tower no longer supported the actual building, architects then had the freedom to really experiment.
This remains true to this day, but we no longer need to confine ourselves to only three parts. New technologies now allow for more.
Today we have parametric modeling and other design tools that allow us to create new geometries and transitions; forms that would have been pretty complex to draw up in the past.
In the case of Fifteen Hudson Yards, every floor plate from 20 something and up is slightly different. I wonder what Louis would think of this.
BIG just announced its first project in South America. It is a 33 storey residential building in Quito, Ecuador. When completed, it will be the tallest building in the city. The developer is Uribe and Schwarzkopf.
Studio Gang has a project currently under construction in New York City called 40 Tenth Avenue. It is also known as the “solar carve tower.” Here are a couple of progress photos taken by Timothy Schenck. The glass is beautiful. (If you can’t see the embedded tweet below, click here.)
Status update from the construction site of 40 Tenth Avenue, our first tower in New York. It’s been exciting watching its progression, especially as the glass is installed on the building’s carved-away form, which is sculpted by the angles of the sun. Photos: @timothyschenckpic.twitter.com/Ks7RqUXEcB
This is one of my favorite buildings by Studio Gang and one that we all studied when we were kicking off One Delisle.
The geometry of the building is a result of carve outs that maximize the amount of sunlight that is able to reach the adjacent High Line (public space). It is form driven by functional logic. Here is a diagram from Studio Gang showing the carve outs that result from the sun’s rays.
The building is made up of “concrete boxes” that, when rotated, create terraces for the apartments. On one corner of the building the apartments are “through-units”, meaning they have two exposures. In this case, it is north and south.
While different, we are starting to see some similarities across BIG’s projects, which isn’t meant as a criticism. I am thinking of Telus Sky, Vancouver House, and even KING Toronto.
They are, at least partially, about expressing the individual apartments and creating opportunities for outdoor spaces. This also serves to break down the overall scale of the building.
The other thing I like about this project is that it is a clear proof of something that I’m going to call the “building height fallacy.” There can be a tendency to overfocus on building height, which I have argued against before on this blog.
In this case, a shorter and squatter building without these solar carve outs, would have actually been worse for the High Line and the surrounding environment in terms of access to light and air.
The building is responding to site-specific criteria – which is what great architecture should do.
The building is made up of “concrete boxes” that, when rotated, create terraces for the apartments. On one corner of the building the apartments are “through-units”, meaning they have two exposures. In this case, it is north and south.
While different, we are starting to see some similarities across BIG’s projects, which isn’t meant as a criticism. I am thinking of Telus Sky, Vancouver House, and even KING Toronto.
They are, at least partially, about expressing the individual apartments and creating opportunities for outdoor spaces. This also serves to break down the overall scale of the building.
The other thing I like about this project is that it is a clear proof of something that I’m going to call the “building height fallacy.” There can be a tendency to overfocus on building height, which I have argued against before on this blog.
In this case, a shorter and squatter building without these solar carve outs, would have actually been worse for the High Line and the surrounding environment in terms of access to light and air.
The building is responding to site-specific criteria – which is what great architecture should do.
