News: SHoP Architects and SOM are among four firms putting forward their visions for the future of New York’s Pennsylvania Station and Madison Square Garden.
SHoP Architects proposes to expand the main hall of Penn Station into a bright and airy space surrounded by new parks and amenities. An extension of the High Line – the New York park built along a section of a former elevated railway – would connect the station to a new Madison Square Garden offsite.
SOM
Skidmore, Owings & Merrill LLP (SOM) put forward a huge expansion of the station centred around a central, transparent ticket hall. Floating above it would be an inverted dome containing offices, apartments and green spaces staggered over multiple levels.
SOM
The proposal by Diller Scofidio + Renfro suggests moving Madison Square Garden across Eighth Avenue and expanding Penn Station upwards to include new amenities such as a theatre and spa.
SOM
Finally, H3 Hardy Collaboration Architecture proposes shifting Madison Square Garden to a 16-acre platform over the Hudson River at 34th Street, creating cycling and pedestrian promenades and a new 16-acre park.
Diller Scofidio + Renfro
The competition was launched to encourage discussion about the future of the site, which seems increasingly uncertain. While the owners of Madison Square Garden have asked to renew their permit for the site above the station “in perpetuity”, the New York City Planning Commission recently voted to limit it to 15 years, placing a question mark over the arena’s future.
Diller Scofidio + Renfro
Penn Station, which was designed to accommodate around 200,000 passengers a day but now has to deal with around 640,000, is seen by many New Yorkers as inefficient and badly in need of an update.
A museum housing sixteenth century Tudor warship the Mary Rose opens today in an elliptical timber-clad building designed by London office Wilkinson Eyre Architects (+ slideshow).
Located in the historic dockyard of Portsmouth, England, the Mary Rose Museum displays part of the ship that served the navy of King Henry VIII for 33 years before spending 437 years undiscovered at the bottom of the sea.
Wilkinson Eyre Architects designed the museum with a stained black exterior, intended to reference traditional English boat sheds, and a disc-shaped metal roof that curves up over its elliptical body.
The starboard section of the ship’s hull is housed in a temperature-controlled chamber at the heart of the building and can be viewed through internal windows on three different storeys.
The interiors, by London firm Pringle Brandon Perkins+Will, were designed to recreate the dark and claustrophobic atmosphere found below a ship’s deck.
“We designed a museum that would recreate the experience of being on board the ship hundreds of years ago and created a context gallery to highlight its precious contents,” said studio principal Chris Brandon.
Spaces feature low ceilings and are kept deliberately dark, with lighting directed only onto exhibits and handrails so that visitors can find their way through the galleries.
Two smaller extensions branch out from the sides of the museum. The first accommodates a reception, cafe and shop, while the second contains an education centre.
Here’s some more information from the design team:
Award-winning architects bring the Mary Rose back to life and create a new centrepiece for Portsmouth’s Historic Dockyard
The design of the new £27m Mary Rose Museum – by Wilkinson Eyre Architects (architect and design team leader) and Pringle Brandon Perkins+Will (architect for the interior) – is a story of collaboration, with the project team combining delicate conservation, contemporary architecture and specialist technical expertise. The result is a truly unique design that reveals the secrets of the famous Tudor ship, marking 30 years since the hull of the Mary Rose was raised from the Solent where she lay undiscovered for 437 years.
Like crafting a jewellery box to house a precious gem, the design team has together created a building and interior that protects and showcases the Mary Rose. Designed from the inside-out, the Museum building takes many of its cues from the historic ship, allowing its hull, artefacts and exhibitions to take centre stage and create a visitor experience befitting this remarkable piece of history.
At the heart of the project, within a carefully controlled ‘hot box’ environment, is the starboard section of the hull of the Mary Rose. Alongside it, a virtual port-side hull has been created over three levels to view the ship and house the context gallery. Encasing the Mary Rose and the largest collection of Tudor artefacts in the world is an architectural form that alludes to the historic significance of the Museum’s collection and announces the arrival of a major new cultural attraction.
Chris Wilkinson, Founding Director at Wilkinson Eyre Architects, said: “When you have a treasure like the Mary Rose, which continues to capture the world’s imagination, the architecture of the building takes a supporting role. However, the building has a very significant part to play in projecting the Museum and its remarkable collection to the world, creating intrigue and heightening the visitor experience of this major cultural attraction.”
Chris Brandon, Principal of Pringle Brandon Perkins+Will (PBP+W), said: “This museum is unique – the only one in the world to take its inspiration from the archaeological finds of the Mary Rose and the ship herself. Our role was to create a showcase for The Mary Rose and her artefacts befitting their significance, so we designed a museum that would recreate the experience of being on board the ship hundreds of years ago and created a context gallery to highlight its precious contents. Coming from a marine archaeological background, finally I can unite my two passions in life – architecture and marine archaeology. I hope visitors to the Mary Rose Museum are as excited by the end result as I am.”
The architecture
When working with such a fascinating artefact like the Mary Rose, the architecture needs to complement rather than distract. In this case, the challenge was finding the right architectural language to help articulate the story being told by the Museum, whilst adding a confident piece of contemporary architecture to Portsmouth Historic Dockyard.
The simple, pure elliptical form of the new building is derived from toroidal geometry echoing the shape of the Mary Rose; its timber is reminiscent of the ship’s historic hull, showcasing the innovative Carvel construction methods of the 16th Century. Further embedding the building in its maritime heritage, the timber has been stained black to reflect England’s vernacular boat shed architecture.
The challenges of the site’s historic context, adjacent to HMS Victory and the listed Admiralty buildings, are compounded by the nature of the site itself: a late 18th Century Dry Dock that is listed as a Scheduled Ancient Monument. Care has been taken to keep the height of the Museum as low as possible to remain sensitive to the proportions and scale of the surrounding buildings. The low-profile, shell-shaped metal roof follows this logic and reduces the internal volume of space which has to be environmentally controlled to precise standards to ensure the conservation of the hull.
Two rectangular pavilions are attached to each side of the main building, one housing the main entrance reception, café and shop, and the other occupied by the Learning Centre and main plant room. The overall composition is a piece of contemporary architecture, an elegantly simple form with an air of mystery that encourages visitors to enter and explore.
The interior
The essence of the design of the interior evolved from the frozen moment in time seconds before the Mary Rose capsized and sank on 19th July 1545. Following the painstaking archaeological excavation and recording of the exact location of every find, the project team could see inside the Mary Rose and reunite the original contents – fittings, weaponry, armament and possessions – deck-by-deck.
A virtual hull was constructed to represent the missing port side with all the guns on their original gun carriages, cannonballs, gun furniture, stores, chests, rope and rigging. Visitors to the Museum walk in between the conserved starboard section of the hull and the virtual hull on three levels, seeing all the main shipboard material in context as though they are on board the Mary Rose. The end galleries then interpret the context gallery deck-by-deck in more conventional museum display cases, designed by Land Design Studio.
The atmosphere of being on the ship is further enhanced by the walkways following the shape of the deck from stern to bow and low ceilings on the lower deck. The Museum spaces are deliberately dark with daylight excluded and the only lighting either focused on the objects or concealed under the walkway handrail, lighting the space and re-creating the dark claustrophobic spaces below decks.
Two museum interiors have been designed – the first for 2013 to 2017/18 and the second for the period after 2018. Initially the Mary Rose will remain in her protective cocoon while she is dried and be seen through windows on the three levels of the context gallery and the lifts. However, on completion of the conservation process, the context gallery walkways will be opened and the Mary Rose and all her contents will be seen together.
Dezeen promotion: Tokyo Designers Week is calling for design professionals, young creators and design schools to enter the Asia Awards, which will be presented during this year’s event from 26 October to 4 November.
The inaugural awards program will honour projects in categories ranging from architecture and product design to fashion and photography, under the themes Hello Future and Festival.
The awards will include presentations by finalists and critique sessions from the selection committee, plus a conference and party for exhibitors and students from different countries.
For students and designers within the school and young creators exhibitions, a grand prize of 1 million Japanese Yen (£6532) and semi-grand prize of 300,000 Yen (£1959.60) will be awarded to winning entries.
Tokyo Designers Week has also issued a call for designers to show at the Tent exhibition and promoters or brands to exhibit at the Container exhibition.
Photographs of last year’s event are by Luke Hayes. Asia Awards logo and Tokyo Designers Week 2013 key visual and art direction by Airside Nippon.
Here is some more information from the organisers:
Asia Awards 2013
Asia Awards will be held to foster young talented designers, the future of the creative industries. We are now looking for professionals, young creators and school exhibitors.
Design Association NPO (Venue: Minami Aoyama Minato-City, Tokyo President Kenji Kawasaki) will be holding a Design & Art Event, Tokyo Designers Week 2013, at Meiji-Jingu Gaien (In front of Meiji-Jingu Memorial Picture Gallery, Tokyo).
One of the two main contents of the event represented by the “School Exhibition” & the “Young Creators Exhibition” have showcased a large number of students and young designers from both inside and outside Japan.
This year, a comprehensive Asian creative award called the “Asia Awards” has been established to gather the creative power from all over the world in the center of Tokyo, thus trying to discover young talents that will lead the next generation and become a platform for students and young designers to make their strides to the global stage.
We are implementing the “Professional Exhibition” for top creators and designers, the “Young Creators Exhibition” for young designers and artists under the age of 30, and the “School Exhibition” for Design & Art schools, colleges, universities and graduate schools.
The representatives of Design Association NPO, Architect Toyo Ito and Art Director Katsumi Asaba will be distributing several awards (Grand Prix 1,000,000JPY, Semi Grand Prix 300,000JPY, etc) for the creators of the Asia Awards.
We expect to nurture the future designers/artists and help them develop capabilities to excel on global stage through interacting with students across different countries and fields. We are now looking for professionals, young creators, and schools to join us in Tokyo Designers Week 2013.
Asia Awards – objective
Objectives: strengthen the competitiveness in creativity – become a platform for young creators to make their strides to the global stage, cultural exchange – build friendship between Japan and other countries through cultural exchanges in design and art.
Category: the Asia Awards will provide the opportunity for students and young designers/artists to exhibit along with top professional designers and to hold a wide range of creative presentations.
Exhibition by Top Creators within the Professional Exhibition, Exhibition by Designers under the age of 30 within the Young Creators Exhibition and Exhibition by Schools within the School Exhibition.
Choose from the following two themes: Hello Future, FES (Festival)
Date: 26 Oct (Sat) – 4 Nov (Mon – National Holiday)
Exhibition format: W1800mm×L1800mm, H300mm, 600mm, 900mm (please choose) Exhibition fee: 150,000 JPN (without tax) *fee to be paid only by applicants who passed the initial screening Exhibition contents: display of recent, past, representative works, prototypes etc. Entry deadline: 31 July (Wed) More details here.
Young Creators Exhibition Outline
First screening : concept sheet review (organiser) Designers who have passed the first screening will be able to exhibit as below: Exhibition format: three dimensional works – plain/flat space W900mm×L900mm (Height: choose from H300mm, 600mm, 900mm), two dimensional works – wall surface W900mm×H1800mm *Designers who failed to pass the 1st screening will have their work displayed within a panel. (panel exhibition, A2 size W420mm X 594mm)
Second screening: work review, within the Tokyo Designers Week 2013, Oct.26th – Nov.4th (Mon.) * (only works that passed the 1st screening will be reviewed)
Final screening: presentation review by a special jury Finalists will hold presentation for the special jury members, in either English or Japanese. Internet live broadcast from the venue.
Exhibition fee: free of charge Target: designers under 30 years of age (professionals, amateurs, students) Entry deadline: 31 July More details here.
School Exhibition Outline Chairman: Satoshi Tabuchi Professor, Tama Art University / Architect
Exhibition format: Outdoor Space 20-metre-squares (5m×4m), Indoor Space 8-metre-squared (W4×D2×H2.4) Number of works allowed: 10 works or less Exhibition fee: This year, the exhibiting fees for overseas universities and colleges are FREE, however, membership fee still applies ( Membership Fee 100,000JPY tax free per unit) Entry deadline: 31 July (Wed) More details here.
Asia Awards – special events
Competition presentations by young creators / students Date: During the Session (scheduled to be held within the latter half of the event) Venue: TDW-DOME Stage Note: Only exhibitors within School Exhibition / Young Creator Exhibition may join Contents: A competition where students from all exhibiting schools present the concept of their exhibiting work. An opportunity to bring out the students/young creators’ presentation skills.
Critique Sessions Date: During the Exhibition period (scheduled to be held within the latter half of the event) Venue: TDW-DOME Stage Note: Live broadcast from the venue through our YouTube Official channel. Broadcast within “TOKYO DESIGNERS WEEK.tv” at a later date Contents: Members of the Design Association’s selection committee will critique the works they have reviewed.
Asia Awards International Exchange Party Date: Pending dates (scheduled to be held within the first half of the event) Venue: TDW-DOME Contents: Create an opportunity for students, young and professional designers from different countries and fields to meet and exchange ideas.
Asia Awards Conference Date: During the Exhibition period (scheduled to be held within the first half of the event) Special conferences for students and young designers held by Japanese and overseas professional creators.
Award Only young Creators and School Exhibitions are included in the (Grand Prix, Semi Grand Prix, Corporate Awards, Prize, Nominee) awards categories. *Professional Exhibitions are not included in the awards categories.
Genres Architecture/Interior/Product/Fashion/Textile/Photography/WEB/Image/Marketing/Graphics/Illustration/Art/Media Arts/Crafts/Space Design/Animation/Music Ex: Architecture, graphic design groups can participate within either design or art category. The exhibition will be distributing a Grand Prix, Semi Grand Prix, Corporate Awards, Prizes, and Nominee within both Design and Art categories.
The Asia Awards trophy
Tokyo Designers Week 2013
Tokyo Designers Week started systematically as Designers’ Saturday in 1986 and was renamed as Tokyo Designers Week in the year 1997, setting its venue continuously every fall for 28 years in the city of Tokyo. It is an international design event that gathers the excellent design and art from all over the world in areas close to our every-day lives, such as architecture, interior, product design, graphic design and art. Since 2005, the event has been provided the central venue of Meiji Jingu Gaien Mae (In front of Meiji-Jingu Memorial Picture Gallery) and developed into an event that attracting in 2012 a record number of over 100,000 people with highly sensitive opinions in the creative field. The event has allowed companies, organizations, embassies, schools, designers to become highly recognized by providing a place to announce their latest design and art through PR, product promotion, marketing and testing for branding purposes.
Date: 26 October (Sat) – 4 November (Mon National Holiday), scheduled for 10 days Time: 11:00–22:00 (18:00 on the last day) Venue: 2-3 Kasumigaoka, Tokyo Meiji-Jingu Gaien Mae (Central Venue), Shops around the Metropolitan Area Expected Visitors: 120,000 people (estimate)
Tent Exhibition – Tokyo Designers Week’s main content is the ‘TENT exhibition’. It gathering more than 120,000 people with high sensitivity opinions in the creative field, thus creating a forum for the promotion of various companies and products. Visitors include manufactures, buyers, various media, people in the design industry who can become incubators.
Container exhibition – an original content produced by Tokyo Designers Week using reusable cargo containers. An independent space ideal for promotions and branding. Visitors are fascinated by the unique exhibitions, including interactive art and space installations, but also media arts and projection mapping. More details here.
About Design Association NPO – Design can change the world
Design Association NPO is the maneuvering vehicle that contributes to society with the design in life beyond genres and across borders by connecting the related companies, designers, schools, embassies and media. Through our art and design event Tokyo Designers Week and our tv program TokyoDesignersWeek.tv – Ken Mogi’s Seeds of Inspiration IMAGINE – we believe that design has the power to change the country.
Little tubes of golden light gently lean towards approaching visitors in this installation by Japanese design duo Hideki Yoshimoto and Yoshinaka Ono.
Hideki Yoshimoto and Yoshinaka Ono of tangent: studio wanted to create the impression of golden ears of rice slowly swaying in the wind.
INAHO, which means “ear of rice” in Japanese, is composed of LEDs encased in golden tubes fixed to the end of three-millimeter-wide carbon fibre stems.
Tiny perforations in the tubes distribute the light into a smattering of blurry dots reminiscent of a rice paddy field, while movement sensors within the base of each stem draw the golden tips in the direction of passing people.
INAHO is an interior lighting inspired by a golden ear of rice slowly swinging in the wind. The product’s 3 mm wide stem is made of carbon fibre and a LED covered by a golden perforated tube is attached to its end, which creates light in dots reminding us of paddy rice. Human-detection sensors are embedded in the base and when a person comes by the INAHO, it begins to sway in that direction.
Dozens of Inaho would create a landscape that responds to and follows people, which will make an attractive entrance or corridor. By extracting the characteristics from an ear of rice and representing them with minimal elements, we approached a product which possesses novelty and nature-oriented familiarity together.
An 18-metre-long window offers panoramic views across Tokyo Bay from the living room of this house in Yokosuka by Japanese studio Tomoyuki Sakakida Architect and Associates (+ slideshow).
The three-storey residence features three sea-facing terraces on its two upper floors, as well as two more secluded balconies tucked away at the back.
The open-plan living and dining room is located on the uppermost floor, where it spans the entire length of the house.
A top-lit atrium connects this floor with the two lower levels. Bedrooms and other rooms occupy the storey below, while the ground floor contains storage and a car parking garage.
The house has thick concrete walls to protect it from the corrosive seaside environment.
Read a short description from the architects below:
Seascape House
The site locates on the slope facing the Pacific Ocean and the house fits in the mountain background, it is where you can feel the strong topographical features.
The house is named “Seascape House” as in which you can admire the view toward the open sea. The house is designed to maximise the sequential experience of this particular environment.
Especially the living/dining on the first floor, where is the terminal point of the sequential experience, is characterised by the 18m opening through which you can have a view of the magnificent seascape. In order to have the generous openings and the canopy, it has a combined structure system of void slabs and slender columns, as well as solid concrete walls to secure from the tough natural environment such as the strong sea breeze and the sunshine.
The daily life in this house would go always with the seascape which changes from moment to moment, and we hope it would bless the every event going to happen in the house, in particular the pleasant chat and supper at a party hosted by the gregarious client couple.
San Francisco designer Yves Behar of Fuseproject has designed a lock that replaces physical keys with a smartphone app.
Developed by Yves Behar in collaboration with technology entrepreneur Jason Johnson, the August Smart Lock is a cylindrical metal device that fits over the existing deadbolt and syncs with the user’s smartphone.
It uses Bluetooth to sense when the phone is approaching in your pocket then unlocks the door automatically, while remote allows you to open the door for guests from anywhere.
With an access code, other people can be given assigned entry times and dates – for example a cleaner could have a code that only grants access on a specific morning each week, or guests staying for a week could have a code that expires after they leave.
It’s possible to send invitations to events and grant access to guests through the app, where guests and owners can also leave notes for each other or share pictures and comments.
The user interface of the app features flat coloured circles to indicate whether the door is open or closed and control who has access when. The lock has an anodised aluminium case and incorporates LEDs to indicate whether it’s locked or unlocked.
The battery-powered device uses the same secure secure communications technology as online banking and August is not dependent on the house’s power supply or WiFi.
“Whereas traditional keys are easy to lose and copy, keypad codes can be easily shared, and biometrics are expensive and a challenge to install, the smart lock is a beautifully designed, easy to install, sociable device accompanied by a single mobile app that runs on your smartphone,” explain Behar and Johnson.
The product will be ready to ship later this year and is the first from new brand August, co-founded by Behar and Johnson, which launched on Wednesday at the D: All Things Digital conference in Rancho Palos Verdes, California.
Here’s some more information from Behar:
August: you are invited
Have you ever lost your keys? I am willing to bet that 99% of us have. In the last year, 20% of Americans have been locked out of their homes at least once. Humanity has been carrying keys, sharp pieces of metal in our pockets, for 200 years…it’s time we think of something else.
This is the task my co-founder Jason Johnson and I have decided to address: to make home entry magical, safer than keys or keypads, and something that makes our lives a little better. We set out to design the August Smart Lock hardware so that it works with existing deadbolts, it is easy to install and is beautiful on a door. The user interface of the smartphone app is intuitive, and allows for great control about who and when friends, family as well as services will be able to access your homes. The best user interface is often invisible: August auto-‐unlocks your door as you approach, and sound design creates an audio confirmation.
The name and logo is warm, friendly and elegant; these qualities are extended to the app, which uses a flat design of simple color circles as indicators for door status, a keychain of all your keys, and scheduling guests’ access. The lock itself is also a simple circular extruded shape, hand sized and made of durable anodized aluminum. The craft details increase tactility with diagonal knurling and the LED’s micro-‐perforations, as well as a physical scoop on the lock, are visual indicators as to whether the door is locked or unlocked.
Changing the archaic key system is also a way to shift the conversation from keeping people out to ways of making our homes both secure and social places that our family and friends can easily access. With a beautiful and minimally designed smart lock, and an easy, safe, social app experience, August is the first step towards seamless interactions with useful technology we will experience everyday in our home.
This guest house by American firm Bohlin Cywinski Jackson nestles against a rugged stone wall within a coastal mountain range in California (+ slideshow).
Using a palette of pre-weathered zinc, timber and rough stone, Bohlin Cywinski Jackson designed the Halls Ridge Knoll Guest House to fit in with the ambling terrain – a former cattle ranch with views across the San Clemente Mountains and Los Padres National Forest.
“Designed to choreograph movement along the extraordinary ridge-top site, the guesthouse celebrates its magical surroundings,” say the architects.
The shed-like timber frame of the house angles up from the stone boundary wall to create a single-storey building with floor-to-ceiling glazing stretching across most of its frontage.
A wooden deck wraps around the glazed facade. It leads across to a swimming pool on one side, which stretches out to meet the end of the stone wall along its edge.
The zinc-clad roof overhangs the edge of the terrace to provide shade during the hottest parts of the day.
The largest room in the house is a combined living room and kitchen. Positioned beyond a pair of bedrooms and bathrooms, it features an open fireplace at the base of a stone chimney and wooden flooring reclaimed from an old barn.
Halls Ridge Knoll Guest House is the first of three buildings under construction on the site and will be followed by a workshop and a larger residence nearby.
Here’s a project description from Bohlin Cywinski Jackson:
Halls Ridge Knoll Guest House Santa Lucia Preserve, Carmel, California
Halls Ridge Knoll Guest House is located in the Santa Lucia Preserve, a remarkably beautiful, vast landscape that was previously a historic cattle ranch. The rugged and pristine site has a rolling topography, a forest of ancient live Oaks and Manzanita, and offers panoramic views of the San Clemente Mountains and the Los Padres National Forest beyond.
The masterplan for this vacation retreat puts forth a series of buildings that relate to its ridge-top setting. These buildings include a workshop, guest house, and main residence, each anchored to the land with a series of massive stone walls and fireplace chimneys, marking the passage along the ridge and culminating in a stone court at the future main residence.
The first building constructed on site is the guesthouse, which flanks the winding entry drive and is anchored to the sloping site with a massive stone wall, screening the house and pool. A simple timber-framed shed roof springs from the stone wall, supporting naturally weathered zinc roofing over cedar-clad volumes.
The guesthouse is sited to take advantage of passive design elements of the temperate California climate. Expansive windows provide natural lighting throughout the house, while a broad overhanging roof shades from the intensity of the summer sun.
Sliding doors and operable hopper windows throughout the house use the prevailing winds for natural ventilation, while also providing expansive views of the mountain range. Wood flooring in the living space of the house is reclaimed from an old barn structure.
Mesh cloaks and structured veils in this fashion collection by Nicolas Alan Cope and Dustin Edward Arnold conjure ghostly apparitions.
White buckram, a thick mesh cloth made from cotton, is pulled taut around stiff wire structures to create circular headdresses.
These shapes cover and frame different areas of the face and head, then are left to drape down to the floor. “We were sure to begin with materials that had enough tensile strength to be both pliable and hold shape,” Arnold told Dezeen.
Items cloak the wearer from top to toe, the matte white mesh creating blurred silhouettes of the body beneath the layers of fabric. “We wanted to restrain the palette by focusing entirely on form rather than color,” he said.
A cape-like garment with a thick, rigid collar spirals around the body in semi-translucent layers.
Los Angeles design duo Cope and Arnold cited their influence as De Revolutionibus Orbium Coelestium, Copernicus’ 16th century scientific document that denounced the Earth as the centre of the universe.
“It signified a paradigm shift in how humanity views itself in relationship to the rest of the world,” Arnold said. “This flew in the face of accepted doctrine and assumptions that were theological in nature.”
Vedas means knowledge in Sanskrit and the duo designed the collection to challenge ideas of what is acceptable against what is possible.
“It was the idea that knowledge is at once both expansive and contractive,” said Arnold. “For some it shakes foundations, de-stabilizes values and opens up the sheer terror of possibility. For others it signifies hope, advancement and discovery.”
News: English football club Everton FC has promised to consult fans on a new version of its crest after the latest redesign prompted a furious backlash.
Over 23,000 supporters have signed an online petition calling for the recently unveiled badge to be scrapped, slamming it as “amateurish” and “embarrassing”.
Responding to the outcry on the Everton FC website, the club apologised and said: “We regret we didn’t ask every Evertonian about something that matters so much to every one of you.”
CEO Robert Elstone explained that it was too late to remove the badge from next season’s kits, but added that fans would be consulted on a redesign.
“We are turning to you to help us shape and refine the badge we’ll adopt in the future. Evertonians from all sections of the fan base will be pulled together in a fully transparent way,” he said.
Everton’s previous crest
The badge was designed in response to club officials’ request for a simpler crest that could be “reproduced more effectively in the digital and retail arenas”.
Designed by the club’s in-house graphics team, it depicts a more accurate version of the Everton landmark St Rupert’s Tower, as well as the club’s name and the year of its formation, 1878.
However, the badge omits Everton’s traditional laurel wreaths and the club’s Latin motto “nil satis nisi optimum”, which means “nothing but the best is good enough”.
Despite the angry reaction, the club said it remained committed to modernising the logo: “Effective logos are simple and streamlined. Simplicity achieves stand-out recognition. This was our starting point for our new crest.”
News: construction has started on a major extension to the San Francisco Museum of Modern Art (SFMOMA), designed by Snøhetta to double the gallery’s exhibition and education space.
Outside glass-fronted gallery
Snøhetta’s design will provide SFMOMA with around 12,000 square metres of indoor and outdoor gallery space, as well as over 1000 square metres of public space filled with art.
An admission-free glass-fronted gallery on the ground floor of the new building will entice passers-by inside to explore large-scale installations.
Living wall on sculpture terrace
A double-height box on the fourth floor will host the museum’s programme of live art as well as film screenings and special events.
Exhibition space
An outdoor sculpture terrace on the third floor will be home to a huge living wall of native Californian plants, while a terrace on the seventh floor will offer views across the city.
Glass-fronted ground floor gallery with Richard Serra sculpture
Additional public entrances to the building will increase access, while a street-level pedestrian promenade will open a new route of circulation in the neighbourhood.
Performance space
The new building will be over 15 metres taller than the existing SFMOMA building, which was completed by Swiss architect Mario Botta in 1995.
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