在这些先例的基础上，霍桑预测，经过多年巴洛克式的参数化，建筑师们将在2015年将去年的历史冥想作为新项目和建议的实际基础。这方面的一个例子可以在迈克尔·瑞恩·查特斯和兰吉特·约翰·可拉的作品中找到，这两人最近因他们的项目揭幕而分享了由咖啡馆领导的ChiDesign比赛(芝加哥建筑双年展的一部分)的前五名。在一份呼吁“一个新的建筑、设计和教育中心”的简报中，并与包括斯坦利·蒂格曼(Stanley Tigerman)、戴维·阿贾耶(David Adjaye)、奈德·克雷默(Ned Cramer)、莫妮卡·庞塞·德莱昂(Monica Ponce De Leon)和比莉·齐恩(Billie Tsien)在内的受到赞誉的陪审员们一起，“宪章”和“可拉”(Korah)提出了一个可以随意概括为

Building on these precedents, Hawthorne predicted that after years of baroque parametricism, in 2015 architects would use last year’s meditations on history as a practical foundation for new projects and proposals. An example of this can be found in the work of Michael Ryan Charters and Ranjit John Korah, a duo who recently shared the top-five prize for the CAF led ChiDesign Competition (part of the Chicago Architecture Biennial) for their project Unveiled. In a brief that called for “a new center for architecture, design and education,” and with lauded jurors including Stanley Tigerman, David Adjaye, Ned Cramer, Monica Ponce de Leon, and Billie Tsien, Charters and Korah proposed what could casually be summarized as a terracotta framework over a multi-story crystalline form of wooden vaults, but is actually something much more complex.

 Day View. Image Courtesy of Michael Ryan Charters and Ranjit John Korah

日景。Michael Ryan Charters和Ranjit John Korah的形象礼貌

跨越二十世纪的摩天大楼(尤其是芝加哥的摩天大楼)的历史，“宪章”和“可拉”将世纪中叶现代高楼的形式主义与这座城市最早的高楼大厦所组成的兵马俑的微妙物质性联系在一起。然而，合并二分为一的约定很快就会导致颠覆。出现的是一个摩天大楼大小的版本，迪勒斯科菲迪奥伦佛罗的“面纱和拱顶”的概念，使用在宽博物馆，除了这里，我们有一个兵马俑和现代贝壳，隐藏了一个蜂蜜颜色的木制地下室的“集合”。

Spanning the history of twentieth century skyscrapers (those of Chicago in particular), Charters and Korah linked the formalism of mid century modern towers with the delicate materiality of the terracotta that clads the city’s earliest tall buildings. However, merging dichotomous conventions quickly leads to subversion. What emerges is a skyscraper-sized version of Diller Scofidio + Renfro’s “veil and vault” concept, utilized at the Broad Museum, except here we have a terracotta and modern shell that conceals an “aggregate” of honey-colored wooden vaults.

白天，这座建筑与芝加哥环城的高层环境交融在一起，但晚上却被点亮，外面的建筑融化了，我们只剩下了拱顶的穿透几何图形。虽然地形图一样的木质形式有着前所未有的美，但对洛杉矶的DS R来说，这种对比对于“宪章”和芝加哥的“可拉”来说似乎不那么令人信服。“宽面”的“面纱”是一种复杂的伪装，为了让画廊获得自然光，但没有一种是直接落在艺术品上的。这里的物质选择没有同样的紧迫性。“宪章”和“可拉”以下列方式概述了它们的决定：

During the day the building blends into its storied surroundings in the Chicago Loop, but lit up at night the exterior melts away and we are left with only the pierced geometry of the vaults. While the geode-like wooden form has unprecedented beauty, the contrast which makes sense for DS+R in Los Angeles seems less convincing for Charters and Korah in Chicago. The Broad’s “veil” was a necessity disguised in complexity, in order for the galleries to receive natural light, but none falls directly on the artworks. Material choices here do not have the same urgency. Charters and Korah summarized their decisions in the following way:

推出了一种为芝加哥传奇天际线设计的新型建筑；它颂扬了新颖的建筑技术，让人们有了创造性的建筑机会，定义了一个不仅为每天使用它的设计师和学生服务的地方，也为公众提供了慷慨开放的场所。

Unveiled proposes a new type of building for Chicago’s storied skyline; it celebrates novel building technologies that allow for inventive architectural opportunities, defining a place that serves not only the designers and students who use it each day, but the public as well by opening up generously to the city.

 Program Diagram. Image Courtesy of Michael Ryan Charters and Ranjit John Korah

程序图。Michael Ryan Charters和Ranjit John Korah的形象礼貌

上述的一些创新包括磁悬浮推进的无绳电梯，这是去年由电梯管理局蒂森克虏伯宣布的一项新技术。在这些轴，多个出租车同时工作在一个无限循环的上下行程，大大减少了所需的空间电梯核心。木材是当代实践中复兴的一种古老材料，在这种规模上是前所未有的，但真正值得注意的是，如何将系统集成到拱顶的结构部件中。地板隐藏辐射采暖元件，地下室隐藏冷却部件；照明也是集成的。如下文所述，该项目在程序逻辑上有一种奇妙的形式：

Some of the aforementioned novelties include maglev-propelled ropeless elevators, a new technology announced last year by elevator authority ThyssenKrupp. In these shafts, multiple cabs work simultaneously in an infinite loop of up and down trips, dramatically reducing the amount of space needed for elevator cores. Timber, an old material resurgent in contemporary practice, is unprecedented at this scale, but what is truly remarkable is how systems have been integrated into the structural components of the vaults. The floors conceal radiant heating elements and the vaults hide cooling components; lighting is also integrated. As outlined in the following quote from the press release, the project grounds a fantastic form in programmatic logic:

.该建筑物的组织是为了鼓励互动的梯度，将项目核心的更大的、共享的元素如剧院、讲习班和活动空间聚集在一起。塔从中央枢纽向上和向下逐渐缩小到更亲密和离散的程序空间。大楼上下设有突出的公共空间，包括零售、礼堂、咖啡厅和画廊，为所有遇到该建筑的人提供最佳的景观和体验。

...The building is organized to encourage a gradient of interaction, clustering the larger, shared elements like theaters, workshops, and event spaces at the heart of the project. The tower tapers up and down from the central hub to more intimate and discrete program spaces. The building is capped above and below with prominent public spaces including retail, an auditorium, cafés, and galleries, affording the best views and experiences to all who encounter the building.

 Longview of the Lobby. Image Courtesy of Michael Ryan Charters and Ranjit John Korah

前厅的朗维尤。Michael Ryan Charters和Ranjit John Korah的形象礼貌

虽然在一个简短的描述中很容易接受这个组织，但是这个项目的流通要难得多。仔细检查程序图和内部渲染，重复的跳跃似乎令人困惑，掩盖了明确的运动是必要的，在这样的公共空间。同样在这个时刻，当代最高的木结构是不列颠哥伦比亚省96英尺高的木材创新和设计中心，由迈克尔·格林建筑公司设计，这证明了这个问题，今天这种复杂的木材形式是否可行，支撑这样一座建筑可能需要哪些结构部件？

While it’s easy enough to accept this organization in a brief description, the project’s circulation is much more difficult to comprehend. Scrutinizing the program diagrams and interior renderings, the repetitiousness of the vaulting seems confusing, obscuring a clarity of movement that is necessary in a public space such as this. Also at this moment, the tallest contemporary wooden structure is the 96-foot Wood Innovation and Design Centre in British Columbia, designed by Michael Green Architecture - warranting the question, is a wood form of such complexity feasible today, and what structural components might be necessary to support such a building?

 Project Model. Image Courtesy of Michael Ryan Charters and Ranjit John Korah

项目模型Michael Ryan Charters和Ranjit John Korah的形象礼貌

此外，尽管精细工艺材料目前在奢侈品环境中复苏，比如位于第57街111号的商店摩天大楼，或者像卡鲁索·圣约翰(Caruso St John)在新港街画廊(Newport Street Gallery)实现的那些小细节，但在更文明、更务实的环境中，诸如兵马俑之类的奢华材料能否蓬勃发展，仍有待观察。

Additionally, while fine-craft materials are currently resurgent in luxury contexts like SHoP’s skyscraper at 111 W 57th Street, or small details like those realized by Caruso St John in their Newport Street Gallery, it remains to be seen if lavish materials such as terracotta can flourish in contexts that are more civic and pragmatically minded.

 Maglev Elevator Bisecting the Vaults. Image Courtesy of Michael Ryan Charters and Ranjit John Korah

磁悬浮电梯把车顶平分。Michael Ryan Charters和Ranjit John Korah的形象礼貌

尽管如此，迈克尔·瑞安·查特斯(Michael Ryan Charters)和兰吉特·约翰·科拉(Ranjit John Korah)的提议为克里斯托弗·霍桑(Christopher Hawthorne)的先见之明提供了资金，因为2015年是建筑新潮的一年，在过去20年里，建筑师们在计算机辅助的繁荣中双双回归，“宪章”和“可拉”的提议是一个新时代的证据，这个时代的定义是一个复兴的建筑领域，经过多年的参数化剧变后，这个时代已经站稳了脚跟。

Nonetheless, Michael Ryan Charters and Ranjit John Korah’s proposal has given currency to Christopher Hawthorne’s prescience, as 2015 has been a year of architectural newness that owes tribute to concepts entrenched in the past. As architects double-back on a computer-aided exuberance that has clouded the field for the last two decades, Charters and Korah’s proposal is evidence of a new era defined by a rejuvenated realm of architecture, one that has found its footing after years of parametric upheaval.

 Chicago City Model with Skyline Visible in the Surroundings. Image Courtesy of Michael Ryan Charters and Ranjit John Korah

芝加哥城市模型，四周可见天际线。Michael Ryan Charters和Ranjit John Korah的形象礼貌

建筑师Michael Ryan Charters，Ranjit John Korah Location Chicago环路，芝加哥，伊利诺伊州，美国设计团队Ranjit John Korah项目，2015年

Architects Michael Ryan Charters, Ranjit John Korah Location Chicago Loop, Chicago, IL, USA Design Team Ranjit John Korah Project Year 2015