Launched in 2016 by the co-founder and former editor-in-chief of Huffington Post, Thrive Global is a publishing company with a focus on wellness and working life.
Rebranded as The We Company last month, WeWork now acts subsidiary of the parent company. As well as managing and providing co-working spaces, it now offers design services to companies under the moniker HQ by WeWork.
Huffington collaborated with the company’s chief creative officer Adam Kimmel on the interior design of the headquarters, located on the corner of Broadway and Houston.
“Huffington and Kimmel’s teams worked collaboratively to identify the main needs for the new space, which included increased flexibility allowing them to expand, a distinct identity reflecting Thrive’s unique culture, the proximity and convenience of the SoHo neighbourhood, and an enriched employee experience,” said WeWork in a project statement.
Measuring 8,000 square feet (743 square metres), Thrive Global features lounge areas, open-plan desks, private booths, conference rooms, a kitchen, an in-house recording studio and a wellness room.
The interiors are bright with white walls, pale wooden floors, and exposed ductwork and pipes overhead.
A lounge-style sitting area has a forest green couch and four chairs. Behind the sofa is a large shelf filled to the brim with colourful books, acting as a divider for private offices beyond. A cream rug and a tall, blue lamp with a yellow shade provide accents to this area.
Other furnishings in Thrive Global’s office are a caramel-coloured sofa, a pale brown leather Model B3 Chair by modernist designer Marcel Breuer, and woven touches on baskets and carpeting. “Materials in the office are meant to be relaxed and soft with limited sharp edges,” said the description.
Conference rooms have floor-to-ceiling windows with custom-made louvres. Inside are large marble tables and Breuer’s Cesca steel framed chairs in either cane wood, or pink and red upholstery.
Thrive Global’s kitchen has pale wood cabinetry and black-and-white terrazzo countertops. An island is anchored by white metal barstools and Endless lights by Jason Miller hanging above.
WeWork was rebranded to The We Company last month to better reflect the wider range of services the company now provides.
The HQ by WeWork initiative provides larger, private offices without WeWork branding to medium-sized businesses.
Michael Caton, who leads the architecture team that provides workspaces for its creative startups in New York, spoke to Dezeen Jobs about how he got there, as part of its recently launched careers guide.
Photography is courtesy of WeWork.
She will be succeeded by Deirdre O’Brien – an executive who has worked at Apple for 30 years.
During her five-year tenure, Ahrendts spearheaded a series of innovative changes to the tech giant’s bricks-and-mortar retail spaces – including sales assistants with handheld payment devices, turning shops into community hubs and adding planting.
Ahrendts oversaw creation of new Apple Stores
“The last five years have been the most stimulating, challenging and fulfilling of my career,” said Ahrendts in a statement. “Through the teams’ collective efforts, retail has never been stronger or better positioned to make an even greater contribution for Apple.”
“She has been a positive, transformative force, both for Apple’s stores and the communities they serve,” added CEO Tim Cook.
Ahrendts, 58, left her position as CEO of British fashion house Burberry to join the Silicon Valley company in 2014, where she was placed in charge of revamping its stores.
The company opened a slew of Foster + Partners-designed international flagships and shops under her direction. Today, the company operates 506 physical retail stores on five continents, as online stores that serve 35 regions.
Ahrendts reinvented Apple Stores as “town squares”
New spaces followed a “town square” concept, which aimed to create thriving public spaces for the local community. Many feature open spaces and large amounts of trees, and are located prominently in cities – like Paris’ Champs-Élysées and New York’s Grand Central Station.
The company also established the Today at Apple programme of free in-store educational sessions delivered by specialists, with spaces designed to deliver these accordingly. In the Chicago shop for example, an upper level includes tiered seating for the public to relax, and an open-plan lower floor.
Ahrendts’ described O’Brien as a natural successor. “I feel there is no better time to pass the baton to Deirdre, one of Apple’s strongest executives,” she said.
O’Brien to become senior vice president of Retail + People
“I look forward to watching how this amazing team, under her leadership, will continue to change the world one person and one community at a time.”
O’Brien, who currently heads Apple’s human resources, will take on the position of senior vice president of Retail + People, reporting directly to Cook. It is suggested she will merge her existing role with Ahrendts’ to manage the company’s 70,000 retail employees and lead the retail strategy.
“Deirdre understands the qualities and strengths of our team better than anyone,” said Cook. “For more than three decades, she has helped keep Apple focused on serving customers and enriching lives.”
“People come to Apple to do the best work of their lives, and our retail teams show their passion every day, in every interaction, all around the world,” said O’Brien.
Apple iPhone sales decline
Apple’s change in leadership follows news that sales have taken a major hit in recent years. In financial results reported in January this year, the company revealed it would miss revenue targets this quarter, and that revenue from iPhone sales had declined by 15 per cent since last year.
Owen Hatherley responded to the news in an Opinion column for Dezeen, predicting the end of the iPhone’s reign of supremacy.
Portrait of Angela Ahrendts is by Mike Dotta/Shutterstock.
Bolivian architect Freddy Mamani is aiming to imbue culture, colour and personality into the “monochrome” city of El Alto, through buildings based on ancient local architecture and craft.
The architect has strived to slowly transform El Alto with his colourful architecture, as seen in these photographs – currently on display at Fondation Cartier in Paris.
“In the last 18 years, my practice has been trying to introduce a colour to El Alto,” said Mamani, speaking through a translator at The Met’s A Year of Architecture in a Day symposium last month. “I have created what I call the New Andean Architecture in El Alto.”
Located outside of the capital La Paz, about 13,000 feet (4,000 metres) above sea level, El Alto is one of the youngest cities in Bolivia but already its second most populous.
The majority of its inhabitants migrated from rural areas. They come from a variety of different Bolivian cultural backgrounds, but around 75 per cent identify as Aymara.
Built rapidly over the past three decades, the majority of urban sprawl is constructed from traditional adobe mud bricks and similarly hued modern versions.
“El Alto is always considered a monochromatic city, because of the altitude and the very cold alpine climate,” Mamani said. “[My] buildings, day by day, are giving more of a modernity to the city.”
His references for the style he has developed come from the ancient city of Tiwanaku, 60 kilometres from El Alto, which thrived 500-1000AD when it controlled much of the Southern Andes. The palace at the UNESCO World Heritage Site is still used for political events and speeches today.
“My architecture incorporates lines and motifs from a very ancient architecture, from the imperial capital of Tiwanaku,” said Mamani, who visited the archeological site during high school. “I wanted to rescue these lines and motifs from Tiwanaku, and imbue contemporary architecture with these ancient forms.”
He takes the geometric shapes found among the ruins – which include depictions of condors, pumas and other natural forms – and blends them into more figural organic designs that also reference elements like mountains, lightning, animals and flowers.
“All of these elements from Tiwanaku can be translated into symmetrical forms in contemporary architecture,” Mamani said. “This architecture has its own language, its own culture, its own identity, and translates these ancient ideas into the contemporary city.”
For the colours, the architect looks to another local tradition – the woven textiles that are created for, and worn by, women of the Aymara culture. The bright blues, greens, reds and pinks of these fabrics are splashed liberally across the facades of Mamani’s buildings.
The finished structures each serve multiple purposes. Typically, the first floors accommodate stores and commercial spaces, while the second and third floors are composed of large activity halls for bringing together families and the community.
Apartments – or sometimes sports facilities – occupy the fourth and fifth floors, then the top floor is reserved for “cholet”: a fusion of the words chola (a woman who wears a very wide skirt) and chalet.
The boldly patterned exterior surfaces continue inside the grand halls, where floral motifs form ceiling plates for modern chandeliers and capitals for columns.
Lighting adds to the effect, with 2,000 to 3,000 single coloured bulbs as well as five to seven large chandeliers used in each hall.
“We try to use colour to transmit joy to the occupants,” said Mamani, who begins his design process with sketches, then works closely with artists to realise the results.
The craftspeople who work on his projects learn artisanal architectural moulding techniques from a young age. All the colours in the interiors are hand-painted with brushes.
Mamani has so far completed around 70 buildings like this in El Alto, and more than 100 across Bolivia. Many locals consider these structures to be status symbols.
“May architecture serves as a form of trophy, as many of the Aymara people of El Alto want to win or obtain these buildings,” Mamani said. “They want to express their culture and identity through these buildings, but they also show economic power in recent years.”
This has not gone unnoticed by competitors in the construction industry, who have tried to capitalise on Mamani’s success by mimicking his signature style across their own structures.
“Other contractors and builders in El Alto have followed in my footsteps, and started integrating colour into the facades,” Mamani said. “It doesn’t bother me that they copy me, I believe that it is really making the city better in general.”
The New Andean Architecture has also sparked interest internationally, and thanks to widespread media attention, is bringing visitors from around the world to El Alto.
“Another benefit is that tourists are now visiting these buildings, and a tourism industry is building up in a city that was previously monochromatic,” Mamani said.
The photographs of Mamani’s work form part of the Southern Geometries: From Mexico to Patagonia exhibition at Fondation Cartier, 261 Boulevard Raspail, which runs until 24 February 2019.
The Met’s In Our Time: A Year of Architecture in a Day symposium took place 19 January 2019, and also included presentations from OMA, MAD, SO-IL and many more.
Videos of the symposium’s three sessions are available to watch on Dezeen, which was media partner for the event.
Photography is by Tatewaki Nio unless stated otherwise.
Named A Brutalist Tropical Home in Bali, the 532-square-metre house is located in a small valley nestled within rice fields on the south coast of the island.
It has exaggerated structural slabs that extend horizontally from its exterior, designed by Patisandhika and Mitchell to shade its living room that is fronted by a double-height glazing.
“One must for us, was to have a double-height living room with full-height glass, allowing lots of natural light and also providing dramatic views to the lush tropical landscape and blue skies,” Mitchell told Dezeen.
“The challenge with this was the climate – heat and direct sunshine on glass isn’t always the best idea. As we opted against using air con for energy saving reasons, we used the overhanging slabs as a solution to block sun and prevent overheating.”
The double-height living room forms the heart of the house, and is flanked by split-levels that Patisandhika and Mitchell modelled on Kappe Residence – a geometric house designed and lived in by modernist architect Ray Kappe in Los Angeles.
“Ray Kappe is a huge inspiration for us. To be able to see spaces from angles that you could not in a conventional house with walls gives a completely different sense of space and feeling,” Mitchell added.
In the living area, this multi-level layout is used to displays records, books and a music system, while leading down into an open-plan kitchen and dining area.
The kitchen-diner is designed without walls, connecting directly with outside to enhance natural ventilation and create a sense of “outdoor tropical living” throughout the house.
A Brutalist Tropical Home in Bali also comprises a music studio, two bathrooms and one outdoor shower, alongside three bedrooms that are connected by a bridge over the living room.
Characterised by exposed concrete teamed with wooden detailing, the interior of the house is intended to act as a “blank canvas” for a mix of textured, colourful objects and furniture that fill the space – informed by the work of Clifford Still, Ellsworth Kelly and also the Bauhaus movement.
An abundance of plants sit alongside the furniture, including a tree embedded into the floor of living room.
The plants are intended to “soften the concrete” while blurring the interiors with the outside landscape, which has been kept “lush, tropical and wild” in the hope it will eventually overgrow the house.
A Brutalist Tropical Home in Bali is complete with solar panels on its roof and a rainwater harvesting system to help improve its environmental performance.
BP Arquitectura also recently completed a concrete house in Córdoba, which features an extended the concrete structure that shades a gravel patio on its upper level, and the outdoor areas on the ground level.
Photography is by Tommaso Riva.
Created for French “pop sculpture” company Leblon Delienne, Mickey Mouse stands at 140 centimetres tall. He features a black and taupe body with gold ears.
Intended for a “clientele of collectors and design enthusiasts”, the sculpture provides a contemporary reimagining of Disney’s beloved character in Hoppen’s signature neutral colour palette.
“Mickey is a universal character with an optimistic outlook,” said Juliette de Blegiers, president of Leblon Delienne.
“Everyone has a special relationship with him. He can become very contemporary when imagined in different colours, declensions and finishes,” she continued.
Kelly Hoppen’s Mickey to appeal to adults
Available in a limited run of 99 copies, the sculpture has a neutral colour palette, intended to appeal to adults. His body is made of resin and coated with matte paint. His ears feature a chromed gold finish.
“Mickey Mouse is suited to all ages and the life-size version was done in the matte black I believe is an extremely great art piece that works in every space,” Hoppen told Dezeen.
“As a sculpture, he has a very impressive presence. The limited edition of Mickey customised by Kelly in her neutral colour palette taupe and black will appeal to all ages,” said De Blegiers.
“It retains its childish charm by bringing a touch of chrome gold on the ears,” she added.
Mickey added to Leblon Delienne’s range
The pieces were handmade in the Leblon Delienne workshop in Normandy, France. Leblon Delienne specialises in products based around well-known characters and series – everything from Mickey Mouse sculptures to homeware based on Alice in Wonderland’s tea party.
Recent projects include a series of superhero-themed coat hangers by Constance Guisset and a table based on Star Wars character Princess Leia’s trademark buns.
When she’s not celebrating the legacy of Mickey Mouse, the Johannesburg-based designer is creating interiors. Earlier this year, she designed 1,500 suites inside a cruise ship.
The museum’s galleries will close 15 June 2019, and open again on 21 October 2019 once the refurbishment is finished, MoMA revealed yesterday.
The summer closure will accommodate the last phase of the project, undertaken by New York studio Diller Scofidio + Renfro in collaboration with global firm Gensler, which involves reconfiguring the museum and adding over 40,000 square feet (3,716 square metres) of gallery space.
These final set of changes will extend the west wing of the museum’s Ronald S and Jo Carole Lauder Building, with new facilities that include a double-height studio for media, performance and film, and an education space.
Previous work saw an overhaul of the building’s east wing, which had already opened to the public.
A suite of street-facing galleries at ground level, planned to be admission-free, will also be added as part of a plan to better connect the museum and its Midtown Manhattan location.
MoMA will close at the end of its spring exhibition series, which includes Lincoln Kirstein’s Modern; Joan Miró: Birth of the World; New Order: Art and Technology in the Twenty-First Century; and The Value of Good Design.
Collections will be removed for the summer months, while finishing touches are made to the galleries.
The October re-install will see multiple mediums arranged in a “general chronological spine” on the first-, third- and fourth-floor galleries, including the new David Geffen Wing. These will extend into the Jean Nouvel-designed 53W53 building to add 11,500 square feet (1,068 square metres) on each level.
This approach follows a new “curatorial vision” that will allow multi-disciplinary showcases of the architecture and design collections, which MoMA said forms part of the original ambition of its founder Alfred Barr.
“Inspired by Alfred Barr’s original vision to be an experimental museum in New York, the real value of this expansion is not just more space, but space that allows us to rethink the experience of art in the Museum,” said MoMA director Glenn D Lowry in a statement.
“We have an opportunity to re-energise and expand upon our founding mission – to welcome everyone to experience MoMA as a laboratory for the study and presentation of the art of our time, across all visual arts.”
MoMA will still continue to host topic-specific exhibitions, like last year’s exploration of Yugoslavia’s concrete architecture, in individual galleries.
Renovation work on the museum began in February 2016, and was executed in phases in line with Diller Scofidio + Renfro’s plans.
The first stage reconfigured the second-floor galleries into two “loft-like” exhibition spaces, created a new lounge with views of the Philip Johnson-designed sculpture garden, added a new gift and book shop, and extended the Bauhaus staircase.
Over the years, the project has required different gallery spaces and areas of the museum close in phases. The architecture and design galleries shut in April 2016, raising concerns that the extension would scrap these dedicated areas, but MoMA later issued a letter that it would not be removing the programmes entirely.
The project also proved controversial when Tod Williams and Billie Tsien’s Museum of American Folk Art was razed to make way for extra space in 2014, and when the proposal forced to be scaled back two years later.
Renderings and drawings are copyright Diller Scofidio + Renfro.
The eight-storey musical complex is the latest addition to the West Kowloon Cultural District on the city’s waterfront, which is also home to a train station by Andrew Bromberg and a theatre complex by UNStudio.
“Xiqu Centre is Hong Kong’s prestigious new home for traditional Chinese opera and creates a landmark entrance at the gateway to the West Kowloon Cultural District (WKCD), the city’s new hub for arts and culture,” said Revery Architecture in a project description.
Overlooking the Victoria Harbour, Xiqu Centre has a dramatic facade based on a modular system of curved forms. Each is cut from untreated aluminium using a computer numerically controlled (CNC) machine.
The result is a dynamic, undulating exterior with thousands of wavy slats that resemble fabric, or ripples across the water.
The aluminium forms huge woven panels around the opera house. These gently pull back at each of the four corners in the ground floor to form the entrances to the 320,000-square-foot (29,72- square-metre) cultural complex.
Inside, there is a circular, stark white, multi-height atrium. Hundreds of narrow crevices and gentle folds line the lobby’s ceiling and walls, and the multi-level circulation paths that promote a free-flow of people around of the space.
The ceiling reveals the belly of an elevated theatre above, which accommodates 1,073 seats within a dark, dimly lit space that starkly contrasts with the rest of the project. There are additional undulating details on the ceiling, barrier walls and walkways.
The theatre is lifted 90 feet (27 metres) off the ground to open up the lower levels. The acoustics of the auditorium are further isolated from the urban movement and ambient noise below that surround the site.
Hong Kong’s Xiqu Centre is dedicated to promoting the heritage of Xiqu-Chinese opera, the primary genre of indigenous Chinese theatre. The complex also includes a restaurant, a 200-seat theatre, studios, rehearsal spaces, educational and administrative areas, lecture rooms and retail spaces.
When designing the building, Revery Architecture used four guiding principles. First and foremost was the element of Qi, meaning energy flow and movement, which is expressed via with curvilinear paths and forms throughout.
Landscaping at grade and two rooftop gardens are incorporated into the design in relation to the second principle of nature – a common feature of Chinese opera’s traditional outdoor theatrical performances.
The third factor was the need for a courtyard to China’s traditional marketplace heritage. In response, Xiqu Centre has a large, sheltered public plaza as a gathering space.
The concept of the opera house as a gateway or hub provided the final guiding principle and resulted in the building’s open, doorless design. Light also emanates from inside the spacious circular atrium.
The West Kowloon Cultural District has been in development for more than a decade, following a masterplan by Foster + Partners, with other projects in the complex including the forthcoming M+ museum by Herzog & de Meuron.
Photography is by Ema Peter courtesy of Revery Architecture.
The project, called the Palo Alto Eichler Remodel, entailed updating a four-bedroom residence in the Silicon Valley town of Palo Alto.
It is believed the single-storey dwelling was constructed in the 1950s, although the exact date of its completion is unknown. This makes the residence among thousands built between 1949 and 1966 by Eichler, who is credited for introducing modern-style tract housing to America.
The renovation project was designed by Klopf Architecture, a San Francisco firm that has prepared designs for over 140 Eichler houses, including a similarly-hued home in Mountain View and a gabled one in San Mateo County clad in pale wood.
This latest project had several goals. The client – a young couple, one of whom is a user interface type designer – wanted to retain the Eichler style, while heightening functionality and establishing a better flow between inside and out. They also wanted a more attractive entryway, as the original approach lacked distinctive features.
Moreover, the client desired “a more efficient building envelope including a well-insulated roof – providing solutions that many Eichler homeowners appreciate,” said Klopf Architecture in a project description.
On the exterior, the team painted the grooved plywood siding grey and added yellow accents – hues that are part of the historic Eichler colour palette. A redwood wood fence fronts a portion of the property, providing privacy without making the home appear withdrawn from its surroundings.
To create more space for a hallway bathroom and the master bath, the architects added roughly 140 square feet (13 square metres) to the dwelling. The team also added insulation to the home’s walls and placed a thick set of insulation boards over the roof decking.
“We then used a spray-applied foam insulation and an elastomeric coating,” the studio said. “The roof is colloquially referred to as ‘spray foam’ and is very typical for Eichler home renovations.”
Inside, the living room and dining area were completely reconfigured. An original brick fireplace was removed, enabling the addition of glazing and skylights that “flood the home with natural light”. Sliding glass doors open onto a refurbished patio in the rear that acts as an outdoor living room.
Overhead, wooden ceiling boards were refinished, and ceiling beams were left exposed. The ceiling was previously coated in paint.
“It was stripped down to bare wood and then sealed with a clear sealer,” the studio said, noting that a matte sealer was specified, but the painter accidentally used a glossier version. “That was one slip-up in the project, but it was determined the clients could live with it, so it was not remedied.”
The home formerly had a galley kitchen, which was dismantled. The new cooking area overlooks the great room and is afforded clear sight lines to the backyard. White cabinetry, a tile backsplash and a walnut bar define the space.
Interventions were made in other parts of the home. A large, white wardrobe was installed in the master bedroom. In a bathroom, vivid red tiles cover the walls. Throughout the dwelling, the team installed grey flooring, which serves as a connective element.
“Durable grey porcelain floor tiles unify the entire home, creating a continuous flow,” the studio said. “They, along with white walls, provide a backdrop for the unique elements and materials to stand on their own.”
Eichler homes are found throughout northern and southern Californi, with an additional three located in New York, where Eichler was born. Another one that has been recently renovated is a two-storey 1965 dwelling in San Francisco by local studio Michael Hennessey.
Photography is by Mariko Reed.
Architect: Klopf Architecture
Project team: John Klopf, Klara Kevane, Ethan Taylor
Contractor: Coast to Coast Construction
Landscape contractor: Discelli
Structural engineer: Brian Dotson Consulting Engineer
The third Chicago Architecture Biennial will forego a single theme in order to push the architecture profession to “think more meaningfully” about a host of contemporary issues, according to artistic director Yesomi Umolu.
Titled “…And Other Such Stories”, the biennial will be broadly structured around “four guiding curatorial frames” – established by Umolu and her team after months of research, which involved trips to Johannesburg, São Paulo and Vancouver.
The Chicago-based curator said the plan was to ruminate on a wide scope of issues in today’s society, rather than a single focus, to tease out many different responses.
“We don’t have a singular manifesto, we’re not trying to convince the world of a particular perspective,” she told Dezeen during a press event on 5 February 2019, when the focus of the 2019 Chicago Architecture Biennial was revealed ahead of its opening in September this year.
“What we’re trying to do is draw out multiple positions and perspectives, a range and diversity of experience, and how through being aware of that, there might be solutions or learning points that you can take forward.”
Third Chicago Biennial to focus on “four guiding curatorial frames”
Umolu’s four-part framework will include “No Land Beyond”, which will look into the relationship between the built environment, nature, ecology, and landscape; “Appearances and Erasures”, which addresses memories and histories associated with monuments and memorials; “Rights and Reclamations”, exploring architecture’s relationship to advocacy and activism; and the final frame, “Common Ground”.
Umolu described the latter as “embedded” into the approach to the biennial, to be achieved through collaborations with a range of groups outside of the architecture industry like social practitioners, spacial practitioners, leaders of social movements, activists, and teachers.
“Common ground is embedded in our approach to the biennial overall, which is that architecture is a common ground across different cultures, societies, peoples and communities,” she said. “Everyone has a meaningful contribution to the question of architecture.”
Umolu therefore intends to ensure the event is appealing and accessible to a wider audience in order to get as many as possible involved.
Architecture should be tool for solving contemporary issues
“Anything is accessible depending on the way that you present and package it,” Umolu said. “If you create that space of openness people will immediately feel included.”
The 2019 Chicago Architecture Biennial marks the third edition of the annual event, launched in 2015 to establish the city as an epicentre for architectural discourse. Umolu follows in the footsteps of 2015 directors Joseph Grima and Sarah Herda, and Sharon Johnston and Mark Lee, who led the last event with a focus on history.
Umolu, whose co-curators include curator Sepake Angiama and Brazil-based architect Paulo Tavares, said she hopes this year’s edition will present the architectural profession as a tool for addressing the issues in contemporary society.
“Architecture can play a role by taking the lead and trying to push the profession to think more meaningfully about some of these questions,” Umolu said.
The 2019 Chicago Architecture Biennial opens to press and professionals on 17 September 2019, and to the general public from 19 September 2019 to 5 January 2020.