As mentioned is the previous article, The American Institute of Architects (AIA) has selected the 2010 recipients of the Institute Honor Awards, the profession’s highest recognition of works that exemplify excellence in architecture, interior architecture and urban design. Selected from over 700 total submissions, 28 recipients located throughout the world will be honored in June at the AIA 2010 National Convention and Design Exposition in Miami.
All images courtesy of the AIA
The jury for the 2010 Institute Honor Awards for Interior Architecture includes: Daniel H. Wheeler, FAIA, (chair) Wheeler Kearns Architects, Inc.; David H. Hart, FAIA, Utah Capitol Preservation Board; Audrey A. Matlock, AIA, Audrey Matlock, Architect; Audrey Stokes O'Hagan, AIA, Audrey O’Hagan Architect and Clive R. Wilkinson, AIA, RIBA, Clive Wilkinson Architects.
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The Cathedral of Christ the Light; Oakland, California
Skidmore, Owings & Merrill LLP and Kendall/Heaton Associates, Inc.
The Diocese challenged the design team to create a building for the ages. As a result, the 1,350-seat sanctuary, with its side chapels, baptistery, health and legal clinics, and dependencies, will honor its religious and civic obligations to the Catholic Diocese and the city for centuries to come. The Omega Window resonates with the surrounding structure metaphorically and physically through its experimental use of light, re-imagining a 12th-century depiction of Christ from the façade of Chartres Cathedral in France through over 94,000 pixels cut into the Window’s triangular aluminum panels.
CHANEL Robertson Blvd.; Los Angeles Peter Marino Architect
Zoning restrictions dictated preservation of an existing building, which was stripped down to the bare wood frame. Through the open street façade a gently rising promenade passes through three distinct “zones” to a semi-obscured stair hinting at continued exploration above. The U-shaped first floor is organized around an exterior courtyard with a plaster façade punctured by 17 uniformly sized openings. The unifying courtyard is present in each ‘room’, but always freshly orientated in both plan and section.
Craftsteak; New York City Bentel & Bentel Architects
The architect’s ultimate goal was to shape, within the one hundred year old shell of this previous National Biscuit Company bakery building, a simple yet texturally and spatially rich interior that integrates the context with the food service both functionally and metaphorically. Inspired by chef and owner Tom Colicchio’s culinary approach of uncomplicated respect for the ingredient, all furnishings and fittings, such as the walnut and steel dining tables, were designed to celebrate their materials and the simple craftsmanship used to assemble them.
Data; Omaha, Nebraska Randy Brown Architects
The client is one of America’s leading providers of mailing lists, marketing data, sales leads and research data. The client’s challenge to the architect was to create a fresh new design for their office that expresses who they are. The design focused on three elements: an etched glass conference room wall expressing the company’s data, a cut and bent wall/ceiling form which connects the office together and galvanized metal shed wall panels to express both ideas of technology and the Midwest rural vernacular of the company’s founding location.
The challenge was to design a single space that functions well as a cafeteria, practice gym and performance hall. Solving the acoustic challenges of these varied uses led to a solution derived from a sushi roll - absorptive on its outermost layer with a thin, reflective inner layer. Attention is paid to detailing the wood panels to distribute sound appropriately for performances while protecting light fixtures and mechanical systems for use as a gymnasium.
Historic Central Park West Residence; New York City Shelton, Mindel & Associates
This project called for combining two untouched, disparate penthouses (circa 1920) in one of Manhattan’s noted landmark beaux-arts revival buildings to create one cohesive, seamless residence. It had to retain the best of the historic past, while still being appropriate to our time. Additional goals involved taking full advantage of the four exposures of light, mezzanine, conservatory, rooftop access and views of Manhattan’s Central Park. In addition, the architect provided for the philanthropist owner a residence easily maneuvered and divided into “public” and “private” spaces for work and family.
Vera Wang Boutique; Soho, New York City Gabellini Sheppard Associates
Customers enter as performers on a stage, stepping into the elevated, double-height proscenium at the front of the store. The spatial sequence unfolds down a full-width, white Corian grand stair, which transitions into the more intimate display and changing area at the rear of the space. With LED backlighting, the steps appear to float; they double as seating for special events or a display riser with translucent acrylic platforms. Reflecting the juxtapositions that characterize Vera Wang’s fashion design, the material palette is based on a series of complementary contrasts.