above> known to many as ‘the forest’ the entire roof structure was suspended, never touching the vaulted stone ceilings.
it hasn’t taken very long to grasp that the wooden-frame roof is literally history.
the roof will never be fully restored to its former self nor is there a need. yet how many of the 13 million annual visitors have even perceived the oak beams and carpentry? DesignApplause reflects on a bit of the history and the genius.
[ the roof ]
the roof that was destroyed was the original made up of 1,300 oak trees – a number of 5,000 is often alleged. the oak trees to reach gothic height for this project were nearly 400 years old by the time they were cut. each beam supporting the 100+ yards of roof came from an individual tree. the roof was also known as ‘the forest’.
the wooden roof’s entire wooden frame sat on the stone walls, suspended over and never touching the vaulted stone ceilings. the beams were spliced together into one piece to achieve this span. the structure was impressively heavy made up of 500 tons of wood. the exterior surfaces were clad with 250 tons of lead.
though there are many revival ideas what happens next is difficult to assess. while we wait, DesignApplause ventures into eliminating restoration and winnowing options to replication — possibly via new technology — and inspiration. and if history sets precedent – the original concept has been altered each time during needed renovation – we predict inspiration will guide the way.
the notre-dame fire, horrific, but the human spirit by design, brings people closer together.
“utterly heartbroken.” ~ britain’s queen elizabeth and her son and heir prince charles said expressing deep sadness. The fire is a “catastrophe for France, for Spain and for Europe,”
spanish prime minister pedro sánchez tweeted the fire is a “catastrophe for france, for spain and for europe,” adding that the flames are destroying “850 years of history, architecture, painting and sculpture.”
german chancellor angela merkel offered her country’s help to rebuild a part of “our common european heritage”.
“notre-dame will always remain – and we have seen this in these hours – a place where believers and non-believers can come together in the most dramatic moments of french history.” ~ pope francis.
french president emmanuel macron told reporters near the scene that he will seek international help, including from the “greatest talents” in the world, to rebuild notre dame.
the notre-dame fire reminds us of the frailty of our architectural treasures. “we are used to thinking about them as eternal simply because they have been there for centuries, or a thousand years, but the reality is they are very fragile.” paolo violini, a restoration specialist for vatican museums, who added that the pace of the fire’s spread had been stunning.
as the embers cool, the world joins hands to restore an extraordinary diva.
2019 chicago architecture biennial highlight contributors:
the chicago architecture biennial announced the first group of contributors to the 2019 edition and its publication. titled …and other such stories, the biennial will form an expansive and multi-faceted exploration of the field of architecture and the built environment globally. the first 51 contributors — spanning the americas, europe, africa, and asia — form an initial, representative group, and include an early selection of ambitious commissioned projects. these projects will address key questions about the implications of architecture as it relates to land, memory, rights, and civic participation, and are particularly inspired by the history and conditions of the city of chicago.
the team is comprised of artistic director yesomi umolu, a contemporary art curator, and co-curators sepake angiama, a curator whose work centers on education, and paulo tavares, a brazil-based architect and academic.
[ exhibition contributors ]
adrian blackwell / lives in toronto, canada akinbode akinbiyi / lives in berlin, germany alejandra celedon & nicolas stutzin / both live in santiago, chile architects for social housing (ash) / founded in london, england – uk avijit mukul kishore & rohan shivkumar / both live in mumbai, india black quantum futurism / founded in philadelphia, usa borderless studio / founded in chicago, usa camp / founded in mumbai, india carolina caycedo / lives in los angeles, usa center for spatial research / founded in new york, usa clemens von wedemeyer / lives in berlin, germany cohabitation strategies & urban front / founded in new york, usa constructlab / founded in berlin, germany daar (sandi hilal & alessandro petti) / founded in beit sahour, palestine detroit planning department / founded in detroit, usa do ho suh / lives in london, england – uk fica–fundo imobiliário comunitário para aluguel / founded in são paulo, brazil forensic architecture & invisible institute / founded in london, england – uk and chicago, usa jimmy robert / lives in berlin, germany joar nango / lives in romssa /tromsø, norway keleketla! library / founded in johannesburg, south africa maria gaspar / lives in chicago, usa mass design group / founded in boston and poughkeepsie, usa; kigali, rwanda ola hassanain / lives in khartoum, sudan and utrecht, netherlands rma architects / founded in mumbai, india; boston, usa sammy baloji & filip de boeck / both live in brussels, belgium and lubumbashi, democratic republic of the congo settler colonial city project / founded in ann arbor usa and guayaquil, ecuador somatic collaborative (felipe correa & devin dobrowolski) / founded in new york, usa studiobasar / founded in bucharest, romania sweet water foundation / founded in chicago, usa tania bruguera & association of arte útil / bruguera lives in new york, usa / association of arte útil founded in havana, cuba tanya lukin linklater & tiffany shaw-collinge / linklater lives in ontario, canada; shaw-collinge lives in alberta, canada territorial agency—john palmesino & ann-sofi rönnskog / founded in london, england – uk the funambulist / founded in paris, france theaster gates / lives in chicago, usa usina – ctah / founded in são paulo, brazil vincent meessen / lives in brussels, belgium wendelien van oldenborgh / lives in berlin, germany wolff architects / founded in cape town, south africa
[ catalogue contributors ]
aviwe mandyanda (blackstudio) / lives in johannesburg, south africa carmen silva / lives in são paulo, brazil cheyanne turions / lives in vancouver, canada columbia books on architecture and the city / founded in new york, usa dr. denise ferreira da silva / lives in vancouver, canada ella / founded in los angeles, usa emmanuel pratt / lives in chicago, usa eduardo o. kohn / lives in montreal, canada inam kula / lives in cape town, south africa lesley lokko / lives in johannesburg, south africa pelin tan / lives in mardin, turkey vincent tao / lives in vancouver, canada
[ history of the biennial ]
the chicago architecture biennial is a 501(c)(3) non-profit organization dedicated to creating an international forum on architecture and urbanism through the production of exhibitions and public programs. the manifestation of mayor rahm emanuel’s vision for a major international architectural event and an outcome of the comprehensive cultural plan developed by chicago’s department of cultural affairs and special events, under the leadership of michelle t. boone, the inaugural 2015 chicago architecture biennial was presented through the support of bp, and in partnership with the city of chicago and the graham foundation. joseph grima and sarah herda, co-artistic directors, curated the 2015 biennial, entitled the state of the art of architecture. through its constellation of exhibitions, full-scale installations, and programming, the 2015 chicago architecture biennial invited the public to engage with and think about architecture in new and unexpected ways, and to take part in a global discussion on the future of the field.
the 2019 third edition of the biennial will run from 19 september 2019 – 5 january 2020.
when i was old enough to begin an understanding of the world, my hometown was burned down. across the shore, the atomic bomb was dropped on hiroshima, so i grew up near ground zero. it was in complete ruins, and there was no architecture, no buildings and not even a city. only barracks and shelters surrounded me. so, my first experience of architecture was the void of architecture, and i began to consider how people might rebuild their homes and cities.
[ jury citation ]
arata isozaki, born in oita, island of kyushu, japan is known as a versatile, influential, and truly international architect. setting up his own practice in the 1960s isozaki became the first japanese architect to forge a deep and long-lasting relationship between east and west. possessing a profound knowledge of architectural history and theory, and embracing the avant-garde, he never merely replicated the status quo but challenged it. and in his search for meaningful architecture, he created buildings of great quality that to this day defy categorizations, reflect his constant evolution, and are always fresh in their approach.
over the more than 50 years isozaki has been practicing, he has had an impact on world architecture, through his works, writings, exhibitions, the organization of important conferences and participation on competition juries. he has supported many young architects from across the globe to have a chance to realize their potential. in such endeavors as the fukuoka nexus world housing project (1988-1991) or toyama prefecture’s machi-no-kao (“face of the city”) program (1991-1999) he invited young international architects to develop catalytic projects in japan.
isozaki’s oeuvre has been described as heterogeneous and encompasses descriptions from vernacular to high tech. what is patently clear is that he has not been following trends but forging his own path. an early exploration of a new vision for the city is seen in the project city in the air, from the early 1960s, for a multilayered city which hovers over the traditional city. his first works in his home country of japan include a masterpiece of japanese brutalism, the oita prefectural library (1966). such projects as the kitakyushu central library (1974) and the gunma prefectural museum of modern art, opened in 1974, reveal an exploration of a more personal architecture. in the museum, the clear geometry of the cube reflects his fascination with void and grid as it seeks to attain an equilibrium in which to display changing works of art.
arata isozaki’s reach and repertoire have expanded over the years to include projects of many scales and typologies and in numerous countries. in the united states, isozaki is probably most well-known for undertaking the museum of contemporary art in los angeles (1986) and the team disney building in florida (1991). the first is a study of the vault or what he calls “rhetoric of the cylinder” and the second is evidenced by a more playful use of shapes with a postmodern flair.
above> museum of contemporary art, los angeles / 1981-86 / photo – yasuhiro ishimoto // bottom> team disney building, orlando / 1987-90
many know his work through such significant buildings as the sant jordi stadium for the 1992 olympics in barcelona. he has undertaken exemplary works in china such as the cafa (china central academy of fine arts) art museum in beijing opened in 2008 or the shenzhen cultural center (2007) in shenzhen, guangdong.
isozaki has shown extraordinary dynamism in recent years with such works as qatar convention center (2011), the traveling inflatable ark nova (2013) designed with anish kapoor for regions in japan affected by the 2011 tsunami, and the powerful yet elegant allianz tower in milan, opened in 2018. once again, it is a testimony to his ability to understand the context in all its complexity and to create a remarkable, well-crafted and inspiring building that is successful from city scale to the interior spaces.
above> qatar national convention centre, qatar / 2004-11 /// below> allianz tower, milan / 2003-14
clearly, he is one of the most influential figures in contemporary world architecture on a constant search, not afraid to change and try new ideas. his architecture rests on profound understanding, not only of architecture but also of philosophy, history, theory and culture. he has brought together east and west, not through mimicry or as a collage, but through the forging of new paths. he has set an example of generosity as he supports other architects and encourages them in competitions or through collaborative works. for all these reasons, the pritzker architecture prize jury has selected arata isozaki the 2019 laureate.
[ jury members ] stephen breyer (chair)
u.s. supreme court justice
washington, dc
andré aranha corrêa do lago
architectural critic, curator, and brazilian ambassador to india tokyo, japan
richard rogers
architect and 2007 pritzker laureate
london, england
sejima kazuyo
architect and 2010 pritzker laureate
tokyo, japan
benedetta tagliabue
architect and educator
barcelona, spain
ratan n. tata
chairman of tata trusts
mumbai, india
wang shu
architect, educator and 2012 pritzker laureate hangzhou, china
martha thorne (executive director)
dean, ie school of architecture & design madrid, spain
[ biography ]
2019 laureate arata isozaki was born in oita, island of kyushu, japan in 1931 prior to the onset of world war ii. he was 14 years old when hiroshima and nagasaki were bombed, and builds with the theory that while buildings are transitory, they should please the senses of the users presently passing through and around them.
“when i was old enough to begin an understanding of the world, my hometown was burned down. across the shore, the atomic bomb was dropped on hiroshima, so i grew up near ground zero. it was in complete ruins, and there was no architecture, no buildings and not even a city. only barracks and shelters surrounded me. so, my first experience of architecture was the void of architecture, and i began to consider how people might rebuild their homes and cities.”
isozaki graduated from the department of architecture in the faculty of engineering at the university of tokyo in 1954, and began his career with an apprenticeship under the guidance of 1987 pritzker prize laureate kenzo tange.
he established arata isozaki & associates in 1963, after the allied occupation when japan had regained its sovereignty and was seeking physical rebuilding amidst political, economic and cultural uncertainty from the decimation of wwii. “in order to find the most appropriate way to solve these problems, i could not dwell upon a single style. change became constant. paradoxically, this came to be my own style.”
his work began locally, with many buildings in his hometown and fukuoka, and quickly expanded to gunma, osaka and tokyo. in the 1960s, isozaki envisioned city in the air (1962 tokyo, japan), a futuristic plan for shinjuku consisting of elevated layers of buildings, residences and transportation suspended above the aging city below, in response to the rapid rate of urbanization. although it was unrealized, isozaki went on to plan cities in accelerating economies, with his most recent developments in china and the middle east.
isozaki demonstrated a worldwide vision that was ahead of his time and facilitated a dialogue between east and west. he emerged as an international leader in architecture in the 1980s,
through his critical writings, and as a jury member for important architecture competitions, he has played a significant role in bringing to realization the concepts of young architects around the world. six decades of his work include philosophy, visual art, design, music, films, and plays, alongside his iconic buildings.
isozaki has served as a visiting professor at several u.s. universities including: columbia university, harvard university and yale university.
[ about the pritzker architecture prize ]
the pritzker architecture prize was founded in 1979 by the late jay a. pritzker and his wife, cindy. its purpose is to honor annually a living architect or architects whose built work demonstrates a combination of those qualities of talent, vision and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.
the question before you once again is whether a person can demolish existing housing stock with impunity and then be rewarded. if you tear it down you must build a replica.
preservationists and city planning commissions alike looking for precedent about illegal demolition of landmarked architecture were given a plum in 2018: if you tear it down you must build a replica as well as include a cautionary tale for others via a plaque detailing the building’s history.
the largent house, a 1,300-square-foot house designed in 1935, was one of only five buildings designed by richard neutra in san francisco. a two-story, whitewashed-concrete-block and redwood-timber building let in natural light and included a greenhouse-like glass atrium to enclose an indoor pool. it was his first project in the city.
a landmarked home bought in october 2017, for $1.7 million by ross johnston in san francisco’s twin peaks neighborhood was leveled within months. a year later the city planning commission’s unprecedented vote to order a replica was unanimous.
johnston had received permission to remodel, but applied for a demolition permit two months after the residence was razed. he cited a fire in 1968 and remodels throughout the 1980s and ’90s had removed the home’s architectural significance. he later said the demo was an accident while johnston was on vacation.
city planning commissioner dennis richards said the home had undergone several modifications over the years, enough to make it ineligible for the most stringent landmark protections.
a little controversy has starting to surface. while replicas are controversial among architectural historians, the decision was applauded by historic preservationists.
in a statement read at the commission meeting, sf heritage executive director michael buhler said that approving the proposed project would have “sent a strong message that existing planning and building laws can be ignored and there will be no repercussions.”
“the question before you once again is whether a person can demolish existing housing stock with impunity and then be rewarded,” said buhler.
architect and architecture historian jonathan pearlman called the decision a “petty and political move that serves no purpose.” pearlman, a friend of the neutra family, said that the modernist architect with a cult-like following would have been “appalled” by the commission’s insistence that the house be recreated.
“his approach to design was extremely client-focused, producing his unique and masterful homes that reflect both his own vision married to the direct needs and desires of his client and to the natural environment of the site,” said pearlman. “to rebuild this house, designed specifically for the largents over 80 years ago, to represent a current political issue hardly seems like something neutra would endorse.”
instead, pearlman said the property owner should have been hit with a substantial fine, which would then be put into a historic preservation fund, similar to the punishment the city settled on in the 2004 expansion of the westfield san francisco centre mall. in that case the developer was fined $2.5 million after razing a 65-foot facade that was supposed to be preserved.
“the 2019 version of a significantly remodeled house, originally designed by one of the greatest 20th century architects, is certainly not a way to address this problem,” he said.
“it’s a replica of history that tells history,” richards said of the largent house to come. “it will preserve his legacy.”
the decision was heralded by neutra’s 92-year-old son and former partner, architect dion neutra, who said that he would love to see the house rebuilt according to the original plans and operated as a publicly accessible cultural center.
“i wish we had a planning commission here in l.a. that had the guts to do what the planning commission in san francisco did,” he said. “i take my hat off to them.”
“it’s an idea factory—a place of creative collision between students and faculty across disciplines, where new ideas are explored and tested on their way to becoming meaningful innovations.” —john ronan, faia
[ architect’s brief ] the ed kaplan family institute for innovation and tech entrepreneurship at the illinois institute of technology opens this month, the first new academic building at iit in over forty years. the kaplan institute is devoted to fostering collaboration, innovation, and entrepreneurship between iit’s students, faculty, alumni and partners and the building will host a variety of collaboration spaces for university’s project-based experiences, contain state-of-the art prototyping and fabrication facilities, and serve as the new home for iit’s institute of design.
the horizontal, open and light-filled building is designed to encourage creative encounters between students and faculty across disciplines. located in the heart of iit’s historic mies campus, the building draws students and faculty in from all directions. conceived as a hybrid of campus space and building, the design is organized around two open-air courtyards through which visitors enter the building, and which serve as collision nodes for chance meetings and information exchange across departments. these two-story glazed courtyards bring natural light deep into the floor plate, creating a spacious, airy and light filled interior and a continuous connection with nature.
the design of the innovation center is innovative in its own right, and forward-thinking in its approach to sustainability. the second floor of the building, which cantilevers over the ground floor to provide sun shading, is enclosed in a dynamic façade of etfe foil cushions which can vary the amount of solar energy entering the building through sophisticated pneumatics. the etfe foil is 1% the weight of glass and gives the building a light, cloud-like appearance.
[ architect’s brief ] the very energy-efficient structure uses highly-insulated SIP panels, prefabricated to minimize transport an materials. the cladding is scottish larch, charred by the contractor using a variation of the traditional japanese shou sugi ban technique to achieve a naturally varied rich color and improved durability. the house will be completely off-grid, with its own water supply, sewage treatment, and electrical system, all designed to minimize energy use.
the modular form of the house, made up of three simple, pitched-roofed volumes, reduces the apparent scale and height of the roofs and allows sections to be isolated and left unheated when not required. the scale of thew individual sections relates to that of small buildings and shelters that have stood on the peninsula in the past, the ruins of which still remain. the design does not try to copy the style of existing buildings in the area but its straightforward use of local stone and timber and simple forms are common with the traditional craft houses and agricultural buildings in the highlands
the intention is that the development should have minimal impact upon the natural flora and fauna and will instead leave it as undisturbed as possible. rather than surrounding the house with conventional domestic garden planting, the natural materials of the house sit in the natural landscape and, as the ground level falls away to the southeast, terminate with a deck or jetty above the unspoiled surrounding site. new planting will use native species chosen only to reestablish those that have been suppressed by invasive rhododendron or grazing, and to introduce a little more ecological diversity. as the process of clearing rhododendron continues, it is believed that other species should be able to reclaim much of the site with only minimal help – small scots pine seedings are already established and need only protection from grazing. the existing birch, alder, and larch will be augmented, with more planting of native heathers and juniper to add to the diversity of the lower story. yellow flag iris will be introduced to the existing boggy area to the east of the house. the flat ‘green’ roof connecting the pitched volumes will be planted with some of the same mix of sedums, sea pink, and other species found on the rocks nearby.
the scale and siting of the buildings, tucked into a natural fold in the land and designed around the existing established trees, has been carefully considered so that the building feels an integrated part of its surroundings from the outset – a modest and sustainable home that makes the most of, and has minimal impact upon, its very special location.
also on the shortlist for the award were >
> pheasants by sarah griffiths + amin taha
> red house by 31/44 architects
> coastal house by 6a architects
> old shed new house by tonkin liu
> vex by chance de silva & scanner
> the makers house by liddicoat & goldhill
the city of chicago recently announced a $8.5 billion renovation of o’hare international airport including a new terminal that will be the centerpiece of the largest expansion in o’hare’s history.
to jump-start this vision, twelve global architectural firms were asked to submit proposals including danish architect bjarke ingels, studio fuksas of italy, chicago firms, gensler, hok, perkins + will, and chicago architect helmut jahn, who designed the stunning terminal 1 which opened in 1986.
a shortlist of five firms are highlighted below. two design contracts will be awarded: the winning team will design the global terminal and concourse. the second-place finisher is expected to design the satellite concourses. the eight-year project, made possible by the end of a 35-year lease with the airlines, would be paid for with future airline fees, and therefore would not require taxpayer dollars.
[ design objectives ]
> expand terminal and gate space
> replace aged infrastructure with state-of-the art systems
> introduce new technology and security innovations
> integrate domestic and international to create a seamless passenger experience
> enhance the passenger experience
> incorporate sustainability and enhanced accessibility features
> reflect the legacy of chicago’s innovation, architecture, and it’s diversity
[ scope of work ]
> increasing the airport’s overall footprint from 5.5 to 8.9 million sq ft.
> tearing down 55-year-old terminal 2 and creating a new global terminal
> adding 25% gate capacity at existing gates to accommodate larger aircraft
> increasing gate count from 185 to 235
> adding two new remote satellite concourses
> adding a tunnel to a new parking facility foreshadowing a future new terminal
> renovating terminals 1,3, and 5
while affirming the 14 project design objectives and scope of work expectations DesignApplause considers the heart of this project is replacing a 55-year-old terminal with a cutting-edge architectural solution that’s categorically a part of every world’s-best discussion.
[ uniquely different ] two concepts stand out: studio ord features ample neighborhoods and greenspace not seen elsewhere in terminals. foster epstein moreno jv boasts a world-first column-less concept under an extraordinary shell with a span of 550 feet.
[ wow factor ] one concept dominates: foster epstein moreno jv a space that pushes the limits of technology and truly lifts the spirits.
[ pro vs con ] what stands out…only one concept with zero con: foster epstein moreno jv.
[ shortlisted firms ]
above > the fentress-exp-brook-garza joint venture’s globally-minded terminal design for chicago provides an elegant, spacious, and sustainable gateway to connect chicagoans and the world with speed and efficiency. soaring spaces sparkle with sunlight and lift the human spirit. daylight and spatial composition guide passengers intuitively and purposefully. the latest technological advances shape a smart, seamless, comfortable, and unencumbered experience. from arrival to departure, every element of the new terminal is crafted to elevate the passenger, making their journey inspiring, engaging, stirring, and fun. our vision is to return the romance of air travel to all who pass through chicago’s o’hare.
above > foster epstein moreno jv / a joint venture led by foster + partners and chicago-based firms epstein and moreno. our design is based upon a sequence of memorable and distinctive spaces that create a gateway to chicago with architecture that is open, transparent, inclusive, welcoming and functional, in turn resolving the sophisticated security, airport and airline requirements in a way that meets the needs of both employees and passengers. three arches frame the landside of the building, merging into a grand single arch on the airside, thus dissolving the barrier between inside and out and allowing the spectacle of the airfield to be visible to all who pass through the gateway, and recapturing the romance associated with air travel.
above > studio ord / chicago is a city defined by motion; confluence – of our river, of trail networks, of railroads – has shaped our most vibrant civic spaces. studio ord’s elegant and efficient design for the o’hare global terminal and global concourse unifies the airport’s campus by converging seamless lines of motion across three terminals around a spectacular central oculus. this confluence becomes orchard field – a vibrant neighborhood that combines abundant green spaces with distinctive landmarks, bespoke retail pavilions, and diverse activity zones. richly layered and easily navigable, it captures the unique character of chicago and redefines o’hare as a 21st century international destination.
above > som / we have delivered global excellence in this great city, shaping chicago’s skyline, neighborhoods and public realm for more than 80 years. it’s said that our chicago buildings turn “pragmatism into poetry.”
our elegantly undulating o’hare global terminal aims to be the world’s best, through optimal functional planning, great design, and keen practicality – all quintessential chicago qualities.
we infuse the muscular heritage of chicago architecture and engineering with many lessons from the natural environment, to increase human comfort, save energy and define a distinctive sense of place. this can be chicago’s next great building and our new gateway to the world.
above > santiago calatrava, llc / o’hare’s global terminal by santiago calatrava is a masterwork of modern terminal architecture. with a glass façade and dramatic shell-like roof soaring over the approach road, the building unifies the terminal complex while establishing itself as its centerpiece.
inside, vaulted, light-filled spaces celebrate both the grandeur and simplicity of bygone travel as customers move easily to and from gate areas enlivened by chicago-focused concessions in an airy, park-like setting.
convenient links to adjacent terminals, satellite concourses, and public transit support a future vision plan that transforms the area opposite the terminal into a vibrant hotel, retail and business complex.
somewhat unusual is the jury is not being disclosed, not even to the architects. please stay tuned.
in a departure from the typology of the typical hermetic urban office tower, the base of the building is carved away at grade to create a four-story covered plaza that extends the adjacent park into the site and creates an urban public space.
completed in 2018, 151 north franklin is a 36-story office tower located in the heart of chicago’s “loop” financial district whose design supports new ways of working. in a departure from the typology of the typical hermetic urban office tower, the base of the building is carved away at grade to create a four-story covered plaza that extends the adjacent park into the site and creates an urban public space which mediates between the city and the building interior.
this public plaza is the first in a series of interconnected spaces designed to support collaboration. the building lobby features sunken and raised conversation lounges; a monumental stair leads from this lobby to lounge and meeting areas on a mezzanine which access a second floor outdoor garden whose atmosphere is quiet and contemplative. at the top of the building is a lively roof terrace with bar and casual seating and views of the surrounding loop.
founded in 1999, [ john ronan architects ] is an internationally-recognized design firm based in chicago and comprised of dedicated design professionals committed to producing architecture of the highest quality, marked by conceptual innovation, exploration of materiality, and a rigorous attention to detail. the firm has a studio culture and its working method is research-based and collaborative. led by john ronan faia, the firm pursues an iterative design methodology to explore and test a wide range of ideas in order to find the response that feels intuitively correct for each situation, based on its unique site, program and context (cultural, historical, economic, social). working across a wide range of scales and project types, there is a searching quality to the studio’s work which seeks to produce that which is compelling and memorable.
its curvaceous structure is inspired by star wars, with circling landscapes and a giant arch for the public to wander around. the 100,000-square-foot gallery space within will display art collections and memorabilia from lucas and his wife, mellody hobson. other design cues include the likes of translucent elevator tubes that will transport visitors through the museum’s white ceiling in the lobby area. mad’s design also unites education and retail spaces within the interior, which is expected to open in 2021.
the ground breaking was a long time coming. originally meant to be constructed in chicago in 2014, the location moved to the west coast because of its initial lakefront site and the legal issues it posed. chicago-based DesignApplause feels that a big one got away.
at the groundbreaking ceremony, george lucas talked about his vision for the museum: “yes, this is an art museum, but i’m also trying to position it as an anthropological museum. it is my feeling that popular art is an insight into a society and what they aspire to; what they really want, what they really are — it is about telling the narrative of their story, their history and their belief system. i believe all kinds of art have a right to exist. i think it’s important to have a museum, that i used to jokingly say, supports all the orphan arts that nobody wants to see, but everybody loves. so that’s my dream for this.”
the museum is located in los angeles’ exposition park, and stands as a gateway to the park. it appears as if a futuristic spaceship, with a mysterious and surrealistic attitude, has “landed” on the site’s natural environment. people from all walks of life are welcome to feel and appreciate this cultural paradise. the interior of the building has been designed as a huge bright and open cave. skylights allow sunlight to flood the interior space, and guide visitors through the museum’s various programs. the first floor and roof of the building are expansive public areas that can be enjoyed by everyone. people can exercise here, relax, talk to the surrounding natural environment, and directly experience nature in the urban environment.
on the design of the museum lucas stated, “i am an avid architectural fan and i wanted a special museum that was a work of art in itself, and ma [yansong] has done that three times.
when asked about the project and its final home in los angeles, mad founder and principal partner ma yansong said, “an open city with an inclusive culture, especially innovative buildings, is very important. it is a pleasure to work with the american filmmaker and legend george lucas on creating a world-class landmark for los angeles. we hope that the joint efforts will continue to make los angeles the most creative metropolises in the world.”
the museum’s collection s is worth at least 400 million u.s. dollars and will cover art through three lenses: narrative art; the art of cinema; and digital art. donated by george lucas and mellody hobson, the expanding collection includes more than 10,000 paintings, illustrations and movie memorabilia. lucas said that, “the ultimate and all meaning of this museum lies in inspiring people’s imagination and allowing people to embrace all possibilities of art creation.” the los angeles government praised the museum as “the largest public gift ever given to a municipality”…
the $1.5 billion lucas museum of narrative art is a non-profit, covers an area of approximately 11 acres and was created and supported by george lucas and his wife mellody hobson. in 2014, mad architects, led by ma yansong, won the international competition of the lucas museum of narrative art to become the architect of the museum. from 2014 to the present, mad has provided three very unique designs, each responding to the three proposed locations of the project, with los angeles chosen as the final home.
the museum is expected to be ready for use in the second half of 2021.
[ timeline of the lucas museum of narrative art in review ] 2014
may > the museum held an invitation only, international design contest, with mad invited as the only company from asia
july – it is announced that mad has won the competition to be the museum architect
november – the concept design for the chicago museum is announced 2015
september – the museum announces plans to deepen the chicago design 2016
october – the museum announces it would give up chicago and make proposals for los angeles and san francisco. mad’s designs for both locations were revealed 2017
january – the museum announces los angeles as the final location
june – the museum receives approval from los angeles city council 2018
march – the museum officially breaks ground