A new personification for the traditional concert hall, the Alice Tully Hall at Lincoln Center by Diller, Scofidio & Renfro with FX Fowle takes a classic and “sculpturalizes” the buildings façade. A bold statement that invites the outside in, the corner entrance seems to peel off the ground and reveal a lighted corner. The literal “peeling off” of the façade tries to redefine a classic while still keeping the traditional proportions. (read more & share at greatspacestv.com)
The design for Diller Scofido + Renfro’s new building at Columbia’s med school has been unveiled and it is impressive. The building is scheduled to break ground early next year and be completed sometime in 2016. Diller Scofido + Renfro is collaborating with Gensler on this, which is great. Neither role (interiors and architects,) can really function without the other, so it’s always nice to see these designers working together to create great space.
In the press statement, DS+R describe their strategy as the “Study Cascade.” Each space functions as part of an enormous staircase, allowing a seamless flow between the various areas of study. In their words, “the Study Cascade creates a single interconnected space the height of the building, stretching from the ground floor lobby to the top of the building, and conducive to collaborative, team-based learning and teaching.” DEFINITELY sounds like a space that needs the help of some interior designers.
The most striking aspect of the building is the way that the facade has been pulled back to reveal all the spaces inside. It has been described on various design blogs as having a dollhouse effect. We love it because of the conceptual connection between physical transparency and educational spaces.
Diller Scofidio - Model of the Slow House, Long Island NY 1989. One of the earlier (and most influential) projects from the firm, the Slow House demonstrates their interest of the juncture between architecture, technology, and the perception of a built reality.
Based on the client’s request to have a home with a view, the architects asked “Why is architecture a technology that creates a view? Because it mediates it with a window frame.” As such, the house is designed as a series of framed views: from the approach, which when framed through a car’s windshield, only reveals the entry door, to the arrival at the picture window in the rear of the house. Complimenting the actual view of the ocean, a video screen is placed in front of the window, displaying the same view fed from an external camera. Controllable by remote, the owner can zoom, pan, and play pre-recorded scenes from the day before, or view the screen via live feed, creating a digital superimposition of the actual experience. “The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between authentic and mediated.”