Right up there with the best in the world

David Kennedy, chief executive of Eden Park Trust, [and ex Fletcher employee] writes about a new stadium 'experience' in store for sports fans.

Eden Park will get all the trimmings in preparation for the Rugby World Cup 2011. Eden Park will get all the trimmings in preparation for the Rugby World Cup 2011. Photo / Supplied From the ticket purchase to the final whistle, Eden Park is gearing up to give rugby fans a world-class sporting and entertainment experience - and not just for Rugby World Cup 2011.

Redevelopment at Auckland's traditional home of rugby is on track to ensure fans old and new enjoy every minute of the action in vastly improved surroundings. It will earn Eden Park its place among the great international sporting stadiums, in terms of atmosphere and amenities. With the park having its biggest transformation in its 100-year history, we will have a $350 million regional asset that Rugby New Zealand 2011 chief executive Martin Sneddon has dubbed the "surprise package" of the Rugby World Cup. With Government funding helping transform the park, the new Eden Park Trust Act requires that the Government-appointed trustees operate the park for the benefit of the people of Auckland. That certainly starts with our traditional rugby and cricket fans, whose support over many years has helped create the Eden Park legacy that is famous the world over.

Their support has been tested at times, as the Eden Park experience has not always lived up to expectations. But our redevelopment is offering a prime opportunity to turn every rugby fan's wish for a much better Eden Park into reality - although the results on the field will still be beyond our control.

Over the next 18 months, patrons will notice many improvements including:
• Electronic ticketing.
• Faster, smoother access through four main gates.
• An integrated full walk around concourse (no more ducking outside the park to access another stand).
• Top-line electronics - all the action, on screen.
• Better lighting and sound systems.
• About 80 per cent of seating covered and better seats all round. Also 48 new corporate boxes and two VIP lounges.
• Upgraded food and beverage outlets, better toilet facilities, easier access to enter and leave the ground and improved and streamlined transport options.

These enhanced features aren't just for the RWC but are permanent and are designed to start Eden Park on the journey to become New Zealand's number one sporting and entertainment stadium. That is a big ambition but one the new trust is determined to fulfill. The new Eden Park experience begins with the ticket. New electronic ticketing facilities will mean fans will be able to buy online and get bar coded tickets that can be swiped at one of four enlarged main gates, which will be a feature of each corner of the park. These will replace the 27 gates of the past, which were needed because there was no concourse linking all parts of the park.

The old Eden Park was six buildings around a patch of grass. The new stadium is a fully integrated facility with the concourse a key part of the redevelopment. Fans will be able to access all stands in the park without leaving the park. The concourse, with its internal TV monitors linked into the two 110sq m superscreens in the stadium, means not a second of on-field action will be missed if fans move around to catch up with friends or to buy refreshments. With our food and beverage outlets, the redevelopment is the perfect opportunity to lift our game, with permanent outlets replacing some of the former temporary setups, enabling better variety, better service and easier access. Our new catering facilities include Auckland's second-largest kitchen.
Better lighting and sound systems will enhance the sporting atmosphere inside the grounds, while minimising disturbance to neighbouring properties.

Recent visitors have been impressed by the vision taking shape with 60,000 seats planned for Rugby World Cup 2011. That includes the new three-tier 22,000-seat South Stand, with 50 corporate boxes, the new two-tier East Stand replacing the eastern terraces and the extension of the ASB Stand with a 2000-seat lower bowl. After the cup, Eden Park will return to a permanent capacity of 50,000 seats. We'll be working hard to deliver an experience that gives fans every reason to fill the stands. In the near future, holders of Eden Park combination membership will no longer have to toss up between the prime seating for winter and summer codes. With the cricket pitch being aligned to the north-to-south axis, that perfect block of seats between the 22s will also be in the ideal cricket sightline, right behind the bowler. Redevelopment also means rugby fans can indulge their love of other sporting and entertainment options, without leaving "home".

To ensure our new stadium pays its way, both as the heartland of Auckland rugby and cricket and a community asset, the trust will be opening it up to other codes and entertainment events - starting with the rugby league international double header in November. This more diverse use means more opportunities to enjoy the park in a variety of sporting and entertainment settings. As anyone attending big games overseas can attest, getting to them can be as much a part of a great day out as the game itself. Eden Park visitors will now be able to share the anticipation of a "last leg" walk to the ground, in common with other major sporting stadiums.

Direct car access to the stadium will now be a thing of the past - if you still come by car then get used to a final short walk. If you want more direct access then public transport options are vastly improved.
A new bus terminal has been incorporated into the development, which will make bus access to the stadium very easy. Patrons will be dropped at the door and can catch a bus at the same spot at the end of the game.
A new walkway from the transformed Kingsland Station will also make pedestrian access quick, safe and easy.

It's all change at Eden Park - change we believe is for the better. We hope rugby fans share that view when they come to experience the full amenity later this year. Eden Park has a wonderful sporting legacy which the new trust intends to build on through this redevelopment.

In discussions earlier this year with Auckland mayors who agreed in principle to underwrite a $40 million loan to Eden Park to complete the upgrade, the trust directors made it clear their intention was to explore all commercial opportunities - including sponsorship - to help the park pay its way and not be a burden on rugby or cricket fans, ratepayers or taxpayers.

We said then that nothing was off the table but fans can be assured the trust will be doing everything in its power to try to preserve the traditional name of Eden Park.

By David Kennedy

Japanese Architects win 2010 Pritzker (Highest Honour in Architecture)

31 March 2010

KAZUYO Sejima and Ryue Nishizawa, partners in the architectural firm, SANAA, have been chosen as the 2010 Laureates of the Pritzker Architecture Prize. The Pritzker Prize, considered the highest honour in architecture, is regarded by many as equivalent to the Nobel Prize.

2010 Pritzker Architecture prize winners Ryue Nishizawa and Kazuyo Sejima. (Photo by Takashi Okamoto, courtesy SANAA.)

Pritzker Prize jury chairman, The Lord Palumbo quoted from the jury citation to focus on this year’s selection: “For architecture that is simultaneously delicate and powerful, precise and fluid, ingenious but not overly or overtly clever; for the creation of buildings that successfully interact with their contexts and the activities they contain, creating a sense of fullness and experiential richness; for a singular architectural language that springs from a collaborative process that is both unique and inspirational; for their notable completed buildings and the promise of new projects together, Kazuyo Sejima and Ryue Nishizawa are the recipients of the 2010 Pritzker Architecture Prize.”

While most of their work is in Japan, Sejima and Nishizawa have designed projects in Germany, England, Spain, France, the Netherlands and the US, under their combined name SANAA. The first SANAA project in the US began construction in 2004 in Ohio – a Glass Pavilion for the Toledo Museum of Art. Completed in 2006, it houses the museum’s vast collection of glass artworks, reflecting the city’s history when it was a major centre of glass production.

Glass Pavilion, Toledo Museum of Art, Ohio. (Photos by Hisao Suzuki, courtesy SANAA.)

While that building was still under construction, the New Museum of New York City broke ground in 2005. Completed in 2007, the building has been described as “a sculptural stack of rectilinear boxes dynamically shifted off-axis around a central steel core.” The jury citation specifically mentions these projects as well as two projects in Japan: “the O-Museum in Nagano and the 21st Century Museum of Contemporary Art in Kanazawa.” The Ogasawara Museum was one of their first projects together.

The formal ceremony will be held on May 17, 2010 on Ellis Island in New York. At that time, a $100,000 grant and bronze medallions will be bestowed on the two architects. This marks the third time in the history of the prize that two architects have been named in the same year.

The De Kunstline Theater and Cultural Center in Almere, the Netherlands, and a more recent Rolex Learning Center in Lausanne, Switzerland are also major projects of SANAA. Other works in Japan include the Naoshima Ferry Terminal and the Christian Dior Building in Tokyo. In Essen, Germany, in 2006, the Zollverein School of Management and Design was inaugurated in a new building designed by SANAA on an historical coal mining site. The building is described as an oversized cube with an unusual arrangement of openings and windows of four different sizes.

New Museum of Contemporary Art, New York City. (Photos by Hisao Suzuki, courtesy SANAA.)

The Serpentine Pavilion in London, their first built project in the United Kingdom, was in place for three months on the gallery’s lawn – the ninth such commission in the Serpentine’s series of pavilions. In Valencia, Spain, SANAA provided a unique expansion solution to IVAM (Valencian Institute of Modern Art) in which their existing building housing eight galleries will be completely enclosed by a translucent skin covering an entire block, and thus creating new indoor/outdoor public spaces between the building and the skin. The proposed skin is a light weight perforated metal that allows daylight, wind and rain to pass through. Construction has not yet begun. Both architects have extensive lists of completed works and projects as individual architects.

The Rolex Learning Center, Ecole Polytechnique Federale, Lausanne, Switzerland. (Photos by Hisao Suzuki, courtesy SANAA.)

Upon learning that she was being honoured, Kazuyo Sejima had this reaction: “I have been exploring how I can make architecture that feels open, which I feel is important for a new generation of architecture. With this prize I will continue trying to make wonderful architecture.” And a similar reaction from Ryue Nishizawa: “Every time I finish a building I revel in possibilities and at the same time reflect on what has happened. Each project becomes my motivation for the next new project.”

For more than 15 years, the two architects have worked together in their collaborative partnership, SANAA, where it is virtually impossible to untangle which individual is responsible for what aspect of a particular project. Each building is ultimately a work that comes from the union of their two minds. Their architecture explores the ideas of lightness and transparency and pushes the boundaries of these concepts to new extremes.

Naoshima Ferry Terminal, Japan. (Photo by Hisao Suzuki, courtesy SANAA.)

The field of architecture was chosen by the Pritzker family because of their keen interest in building due to their involvement with developing the Hyatt Hotels around the world; also because architecture was a creative endeavour not included in the Nobel Prizes. The procedures were modelled after the Nobels, with the final selection being made by the international jury with all deliberations and voting in secret. Nominations are continuous from year to year with hundreds of nominees from countries all around the world being considered each year.

The Prince wails at Jean Nouvel

Mr Nouvel's pavilion features table tennis tables, an auditorium and a 12m wall tilting over the space at a gravity-defying angle

A superstar architect whom the Prince of Wales tried to remove from a £500 million development next to St Paul’s Cathedral will complete his first British project in Hyde Park this summer. 

Jean Nouvel, one of the most decorated and unpredictable architects in the world, has designed an extraordinary scarlet pavilion for the Serpentine Gallery featuring table tennis tables, an auditorium and a 12m wall tilting over the space at a gravity-defying angle.  

It will be the tenth such summer pavilion for the gallery, the latest and brashest installment in what has become a highlight of the art and architecture year.  

Julia Peyton-Jones, the director of the Serpentine, said that the scheme offered an unmatched level of democratic engagement with the world’s most important architects, which is why it typically pulls in around 250,000 visitors a year, twice as many as the Venice Architecture Biennale.  

“The public own the structure as soon as they can get into it. They can move the furniture, have picnics in the pavilion or play games in it. They can engage with the work of architects who will be in the cannon in a hands on way that would never be possible anywhere else in the world.”  

The gallery has no budget for the pavilions, which are turned around in six months from invitation to completion. 

Usually sponsorship, sponsorship in kind and the sale of the structure at the end of its lifetime fund the project, although this year the Serpentine is receiving help from Arts Council England’s Sustain fund, designed to help organisations to maintain artistic excellence during economic downturns.  

Zaha Hadid was the first to accept the challenge and the parade of international architects who have followed her includes Daniel Libeskind, Oscar Niemeyer, Rem Koolhaas, Olafur Eliasson and Frank Gehry.  

Last year’s commission was a swooping, delicate aluminium structure by the Japanese architects SANAA, which was praised for its lightness of touch and reflective qualities.  

Mr Nouvel will offer something different. The 64-year-old Frenchman has a reputation for eccentricity in both his habits (he dresses only in black in winter and only in white in summer) and his buildings. 

The WHY 58X38

 The WHY 58 x 38 

A French shipbuilding ship company joined with one in Monaco to build this yacht. It’s enormous, the WHY 58x38. (58 meters long by 38 meters wide), and released these pictures.

The yacht, an area of 3400 m2 with seating for 12 passengers and 20 crew.

This is a "green" yacht.

Wally et Hermès use green energy for 20 to 30% fuel savings and 40 to 50% electricity consumption on board. There are 900 m2 of solar panels, producing a daily output of 500 kW.

equipment:

Three decks, a 25 meter pool, a spa, helicopter pad, sauna, gym and massage room, a 130 meter promenade, music room, dining room, cinema, sun decks, suites, terraces, lounge.

The decks are connected by stairs but there is also an elevator.

The owner’s suite:

With an area of 200m2 and completely covers the third deck. (This is the bedroom) The sea view is great and there is a private terrace of 25 meter long.

A sea of light.

The yacht has the shape of a horseshoe and has a roof so everything is bathed in a sea of light.

The spacious lounge.

On the lower deck are the common premises, such as lounge, piano bar and dining area.

Dining Room

The dining room opens onto the sea view.

For the guests, 5 suites with sea views (on the middle deck). There is also a fully equipped reading room. 

Unbuilt Masterworks of the 21st Century - Inspirational Digital age for Architecture

Behind all those broadsheet “architecture in the Noughties” features there was an alternative decade, visible

in a mammoth volume published in 2009 by Thames & Hudson. Unbuilt Masterworks of the 21st Century is a compendium of schemes that never made it – a clutch of vetoed World Trade Centers, megaprojects too ambitious even for China and the UAE, competition losers, political alsorans and the financially stillborn. But is this menagerie of failures miserable? Hell no. Bumptious confidence bounces off every page.

Even though they never came to trouble the surface of the planet, the projects are still “masterworks”

– it says so right on the cover. Actually breaking ground is beside the point now that digital technology has advanced to the present state of the art. Authenticity is overrated in a digital decade, where we can fight wars over non-existent weapons and billions of pounds can dematerialise in minutes.

That said, there’s a pleasing amount of non-digital presentation in Unbuilt Masterworks, with plenty of models and drawings, and even watercolours and charcoal. But the computer-generated stuff is clearly the main event. It’s all so consciously seductive, winking at you like soft porn from page after page. The buildings are literally perfect, even the dogs. Many have these unique seamless surfaces with an unearthly, reflective, silken un-texture, pierced by lens flare from a hot sun in clear skies.

Others are pristine Apple Mac white or have the translucence of rare jellyfish. Building them would ruin them.

Unbuilt Masterworks of the 21st Century: Inspirational Architecture for the Digital Age, by Will Jones, Thames & Hudson