Search results for "michael maltzan"

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Time to Grow Up

Michael Maltzan’s masterplan for Pasadena’s ArtCenter approved
A new 15-year master plan designed by Michael Maltzan Architecture (MMA) for Pasadena ArtCenter College of Design was unanimously approved by the Pasadena City Council on July 16.  The plan calls for the large-scale transformation for the school by expanding southward ArtCenter’s Craig Ellwood-designed Hilltop Campus. Among other aspects, the new plan calls for up to 1,500 new student beds, a series of new elevated terraces and quads, and a handful of new residential and academic buildings across the school’s new South Campus. The existing Hilltop campus will receive cosmetic and functional upgrades, including a new solar array, Urbanize.la reports  Tina Chee Landscape Studio is slated to work as the landscape architect on the project while ARUP and Sherwood Design Engineers will handle energy and water infrastructure optimization, respectively. MMA’s multi-phase plan will first connect a pair of existing South Campus buildings and two new housing towers with a new sloped terrace that spans over a stretch of train tracks cutting through the site. Phase one of the expansion will add 350- and 500- unit student housing towers as well as a new landscaped quad, and is expected to be completed by 2020. The project’s second phase will kick off that year and will involve a great deal more effort and construction.  The addition will add a second, much more expansive elevated terrace southward from the northern cluster of buildings impacted by phase one. The elevated terrace is depicted in project renderings containing interconnected pedestrian areas with large planters, public art, and assembly spaces filling out the spaces between the new buildings. A new multi-level student center will be located below the elevated terrace.  With the new multi-level complex, the architects hope to bring a form of “layered urbanism” to the site that will embed a variety of social, commercial, and cultural uses across the campus. Pedestrian improvements—including a bicycle path running the length of the site—will accompany the campus expansion.  Phase two is expected to be complete by 2027.
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MMAsterplan

Michael Maltzan Architecture to expand ArtCenter College of Design
ArtCenter College of Design has unveiled renderings of a new, two-phase master plan created by Michael Maltzan Architecture (MMA) that aims to reposition the college as an expansive, urban campus connected by pedestrianized open spaces, new housing, and student amenities. The new 15-year master plan for the university’s dual Pasadena campuses would boost enrollment by 500 students, bringing the total number of enrolled full-time students to 2,500. Plans include adding several new student housing towers, a mixed-use academic complex, two new quad spaces, pedestrian and bicycle paths and a cap over an existing light rail line right-of-way that transverses the site. The first phase of the project will bring two new eight-story housing towers to the north end of the campus containing 350 and 500 beds, respectively. The housing towers would be accompanied by a new quad that would span above the light rail line. The quad would be joined by ground floor amenity spaces in the housing towers that could include a new art supply store, student galleries, a campus cafeteria, and a coffee shop. Several existing buildings would receive internal upgrades and reprogramming during this phase as well. The first phase of the project is slated to be completed by 2020. Phase two of the project would bring the addition of a 220,000-square-foot housing and student center complex that would be capped by four eight-story towers containing up to 650 student beds. Plans call for potentially utilizing these structures as academic spaces as well. This complex would be located at the southern end of the campus and would replace an existing parking lot. This end of the campus would also receive a new elevated quad area that would be raised above street level to connect the new housing towers. Preliminary renderings of the complex depict planted terraces accessed by broad staircases and sloping landscape areas. These spaces would be overlooked by the new housing towers, which are depicted without detail in the renderings. A second satellite campus will receive internal upgrades, new solar arrays, as well as the removal of an annex building, Urbanize.la reports. Tina Chee Landscape Studio is slated to work as the landscape architect on the project. Plans call for the competition of both phases of the master plan by 2033.
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Rice University

First look at Michael Maltzan’s Moody Center for the Arts in Houston
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The Moody Center for the Arts, designed by Los Angeles–based Michael Maltzan Architecture (MMA), is a 50,000-square-foot, $30 million center located on the campus of Rice University. It serves the campus and general public as an experimental platform for making and showcasing works across disciplines through deliberately flexible interior spaces.
  • Facade Manufacturer Endicott (brick units)
  • Architects Michael Maltzan Architecture
  • Facade Installer Linbeck (contractor); Dee Brown, Inc (masonry subcontractor); Duke Glass (glazing systems)
  • Facade Consultants Thornton Tomasetti (facade consultant); Guy Nordenson and Associates (structural engineer)
  • Location Houston, TX
  • Date of Completion 2017
  • System steel frame, masonry veneer, curtain wall
  • Products Manganese Ironspot norman masonry brick units by Endicott; first floor curtain wall & second floor windows by Oldcastle; Glazing by Guardian
The building is generally composed of three long narrow blocks, set along an east-west campus grid. The structure references typological buildings and their related exterior quadrangle spaces on Rice University’s campus, which stem from an early 1900s masterplan by Boston architect Ralph Adams Cram. "We had this fantasy that, if you could take all of the campus and squish together its long rectangular buildings with its exterior quads, you would combine both formal and informal ways of making connections and learning," said Michael Maltzan, founder of Michael Maltzan Architecture. "In that regard, we were alluding to the Moody as a microcosm of the entire Rice campus." The facade appears quite massive from far away, but as you get closer, it is revealed that the facade is actually quite thin and permeable. This is most apparent through a "floating" outdoor canopy that frames an arcade running parallel along the building's primary north elevation. The facade here is framed by steel and integrates a secondary steel web that spans from the second floor to the roof continuously along the entire facade. This web encloses “lanterns,” or volumetric voids in the massing of the building, and wraps around starburst-shaped columns which bookend the composition. These iconic columns carry the load of the steel and masonry structure at each end of the building. A double angle detail provides a crisp bearing shelf for the brick facade. At the east lantern, the brick surface is installed as screen wall configuration. To achieve this, threaded stainless steel rods were integrated into the hollow cells of the brick units, which were installed in a 1/3 running bond pattern. Andrea Manning, associate at Michael Maltzan Architecture, said this allowed for selective bricks to be omitted, producing a unique perforated floating masonry screen. "It was a technical challenge to make brick work this way while maintaining a light and delicate structure," she said. Maltzan said this building uniquely brings together a lot of programmatic elements they have worked on in the past. "There aren't that many examples of this new type of building whose ambition is to be [a] extremely cross-disciplinary hype-collaborative center where lots of different unexpected individuals, groups, artists, technical people all come together. One of the biggest challenges is to anticipate the wide range of activities that might take place without any of that being determined yet when designing the building. To try and build in the right amount of flexibility without flexibility completely taking over the building in such a significant way that it compromises any parts of the program. Getting this right was a big learning curve for everyone involved on the project." The brick is a dark manganese ironspot brick, which Maltzan says produces a surface that is animated by the dynamic quality of the atmosphere of the site. “Brick often feels like it is very stable and unchangeable. The manganese brick is black, but over the course of the day with changing lighting conditions, it can take on the appearance of metal, deep purple, or sky blue. That quality, along with the thinness of the assembly gives a new reading and character to brick which we are very excited about.” Beyond the facade, at the heart of the Moody is a double-height “Creative Open Studio” that anchors the building in plan and section. This space was imagined by the architects as an interior version of the typical campus quad. “This interior landscape brings the most diverse programmatic functions into contact with one another, while opening views out to the campus,” said Maltzan. The cross-disciplinary building establishes a new arts district on campus, with proximity to the Shepherd School of Music and the James Turrell Twilight Epiphany Skyspace on the Suzanne Deal Booth Centennial Pavilion. The facility will be programmed, but it’s also a place where the public can be inspired, with public shows and free admittance year-round.
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Hammer Time

Michael Maltzan Architecture to expand Hammer Museum
Michael Maltzan Architecture (MMA) and the Hammer Museum in Los Angeles have announced plans for a 40,000-square-foot, multi-year expansion to the museum’s existing facilities at the foot of the University of California, Los Angeles campus. The newly-announced additions and changes come as MMA completes renovations to several existing galleries in the museum. That project has seen MMA consolidate existing spaces to enable a continuous, 10,000-square-foot gallery space, a programmatic requirement necessary for hosting most major traveling exhibitions. Those renovated galleries will debut to the public this weekend and feature new exhibitions with pieces by American sculptor Jimmie Durham and French painter Jean Dubuffet. In a press release announcing the expansion, Hammer Museum Director Ann Philbin said, “After years of continuous growth, the Hammer is in need of a physical expansion and upgrade to provide more art for our audiences, more places to study, and more places to gather.” The next set of renovations will build on existing capabilities by increasing the museum’s exhibition space by 60% and will include the addition of a new gallery dedicated to works on paper and special collections, in addition to creating a new museum store. Plans also call for increasing community spaces by 20,000 square feet. Renderings released by the architect depict white-walled gallery spaces with minimal detailing and blonde wood floors. MMA’s renovations will also include re-programming the ground floor facade along Wilshire Boulevard to increase transparency between the interiors and the street. In the same press release, Maltzan said, “The Hammer has become an essential destination in Los Angeles. This transformation will make it dramatically more visible and inviting, more connected, more immersive. It will mark a major new chapter for what the Hammer is, and what it can be.” MMA has a long list of previous projects at the museum, including designs for the museum’s Billy Wilder Theater in 2006, renovations to the museum’s courtyard in 2012, and the John V. Tunney Bridge, built in 2015. The Hammer Museum is located along the ground and lower floors of the 16-story Occidental Petroleum Building, a midcentury office tower originally designed by architect Claud Beelman in 1962. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your city and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
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Mood Books

Styled like illuminated manuscripts, Lari Pittman’s paintings stand in a Michael Maltzan Architecture-designed exhibition

Lari Pittman: Mood Books, features an exhibition design by Michael Maltzan Architecture (MMA) and is currently on view at The Huntington Library, Art Collections, and Botanical Gardens in San Marino, California. Pittman’s works consist of six large-scale art books that contain a total of 65 hallucinogenic paintings styled by the artist in the manner of illuminated manuscripts. Michael Maltzan described Pittman’s works to The Architect’s Newspaper during a recent studio visit as “architectural in scale,” which the firm sought to accommodate via an elaborate and expressive series of billowing, stark white pedestals. MMA’s lofted forms serve to highlight the weighty books, with the smooth, white-painted plywood reliquaries accentuating the bulk and eye-popping color of Pittman’s paintings. The pedestals connect to form one long sequence, an alternating display of spreads that will change throughout the course of the exhibition’s duration as the book pages are turned by gallery attendants.

Lari Pittman: Mood Books The Huntington Library, Art Collections, and Botanical Gardens 1151 Oxford Road San Marino, CA Through February 20

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Studio Gang Wins

AN Exclusive: Studio Gang beats out Michael Maltzan and Allied Works to design unified California College of the Arts campus
Chicago-based Studio Gang Architects (SGA) has been selected to design an expansion of the California College of the Arts (CCA) campus in San Francisco, beating out Michael Maltzan Architects and Allied Works for the prestigious commission. Over the next five years, CCA will work with SGA to develop a design for a comprehensive expansion of the existing arts campus to provide educational facilities for the college’s 2,000 students, 600 faculty members, 250 staff members, and 34 academic programs in San Francisco’s Mission Bay neighborhood. The expansion, outlined in the school’s Framing the Future visioning plan developed by Gensler and MKThink in 2015, will aim to absorb the school’s Oakland satellite campus as well as create on-site housing opportunities for students on a site adjacent to the existing San Francisco campus. In a press release announcing SGA’s selection, CCA Board Chair C. Diane Christensen commended the firm’s long list of ground-breaking educational projects, saying, “The selection process was extremely thorough, involving intense review and significant input from many constituencies. Studio Gang’s visionary work, commitment to innovation and sustainability, and collaborative work style makes the firm an excellent fit for this project and for CCA. Jeanne Gang leads an extraordinary team that is very familiar with San Francisco and our still-emerging neighborhood at the intersection of the city’s innovation corridor, the new DoReMi arts district, and Mission Bay. We are thrilled with the prospect of working with Studio Gang and have high hopes that our new campus will help redefine 21st-century arts education.” Studio Gang CCA Unified Campus from Architect's Newspaper on Vimeo. In the same press release, Jeanne Gang, founding principal at SGA, focused on intrinsic potential for the project to yield innovative educational synergies, remarking, “We are excited to discover with CCA the possibilities that a unified campus in San Francisco presents for the future of art teaching, learning, and making,” adding, “The site has enormous potential to build an expanded, increasingly connected campus for CCA in a newly thriving design district. We are looking forward to a creative and engaged design process to help CCA continue to change the world through dynamic arts education.”
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Creative Campus Life

Allied Works, Michael Maltzan, and Studio Gang compete for California College of the Arts campus design
Allied Works Architecture (AWA), Michael Maltzan Architects (MMA), and Studio Gang Architects (SGA) have been selected as finalists to design a new campus for California College of the Arts (CCA). The architects are vying to design a new extension to the school’s San Francisco campus that would unify the institute’s 2,000 students, 600 faculty, 250 staff members and 34 academic programs on one site. Currently, CCA’s students and programs are split between a campus in San Francisco and one in nearby Oakland, California. The new campus expansion would grow on a 2.4-acre lot bordering the existing facilities in San Francisco and would be developed over the following five years. The project also aims to address San Francisco’s housing crisis by supplying roughly 1,000 beds of on- or near-campus housing by 2025, a healthy increase over the 500 currently available beds split between the two existing campuses. The expansion will have a heavy emphasis on sustainable design practices, with the college citing the inclusion of sustainability strategies for water and energy generation, usage, and conservation, air quality, and environmentally safe art-making materials and practices as central tenets of the expansion. CCA will also engage in an effort to preserve the school’s current Oakland campus, which dates back to 1922. The university aims to redevelop that property, the historic Treadwell Estate, in a way that might “reflect and amplify CCA's legacy,” including, potentially, some sort of “mission-aligned” use like affordable housing or as the location of an educational institution. The planned expansion comes after several years of architect-guided planning at CCA, with architectural firms Gensler and MKThink producing a strategic framework for planning for the campus in 2015 that was followed by year-long comment period seeking to engage professors and students, alumni, and trustees. Following the comment period, San Francisco—based Jensen Architects created a space-planning guide from the Gensler and MKThink report that was then used to vet potential architecture firms, with the resulting selection of AWA, MMA, and SGA indicating the school is ready to move onto the next phase of fielding proposals from each team. In a press release announcing the finalists’ selection, CCA President Stephen Beal stated, “This is the moment for CCA to elevate and scale our distinctive, learn-through-making educational model by unifying our campuses to improve the student experience. We will develop future creative leaders and reimagine higher education on a campus like no other—one built with advanced measures of sustainability where every workspace, public space, and landscape serves as a living, learning laboratory for collaboration, risk-taking, and experimentation. We are looking forward to finding a partner architectural firm that can help us realize this vision.”
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Moody Forms

Michael Maltzan Architects designs exhibition for Huntington Library
  The exhibition, Lari Pittman: Mood Books, with works by artist Lari Pittman and exhibition design by Michael Maltzan Architecture (MMA), is currently on view at the Huntington Library and Botanical Gardens in San Marino, California. Pittman is a Los Angeles—based visual artist who makes large-scale paintings that combine surrealism, geometric shapes, and narrative association with vivid color. The artist’s paintings vary widely in terms of size and scale and alternate between collections of single and multiple works. The exhibition on view features a collection of Pittman’s smaller recent works: six art-books containing a bound collection of 65 paintings by the artist, with the books resting on large pedestals designed by MMA. The tomes, styled in the manner of psychedelia-inspired illuminated manuscripts, are located in a dark, ancillary gallery and are removed from the museum’s permanent collection. Within that space, the books and their respective pedestals are organized in a straight line, with books open for viewing along alternating sides of the heavily articulated, painted plywood arrangement. MMA’s designs for the pedestals are articulated as stark-white, billowing forms, rendered in sumptuous planes with surface qualities halfway between those sheets of a paper and billowing drapery. Each pedestal is supported by four diminutive legs, where the form of each supported volume swoops down to touch the floor. Like sliced up milk cartons, the pedestals unfold and bend backward, connecting with adjacent pedestals to create one monolithic object. A light-gauge curved rod spans between the open section of each pedestal along the viewing edge, guarding Pittman’s works. A wall-based work on a touchscreen hangs, off in a the corner of the room, the small painting illuminated and pushed out from the wall by an exaggerated, extruded picture frame. The pages of each book will be turned throughout the course of the exhibition and all the sheets are accessible via the touch screen component. For more information on Mood Books, visit the Huntington Library website.
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In the Moody

Michael Maltzan designs a new arts center for Rice University that fits the campus’s distinctive form

A new building now under construction, the Moody Center for the Arts, designed by Los Angeles architect Michael Maltzan, continues the exploration of how to design new buildings for Rice University that respect and consider rather than imitate the existing buildings.

According to Maltzan, the parti for the Moody Center—which will house workshops, galleries, and performance spaces for an interdisciplinary arts center—is a “hyper village of making; a microcosm of the campus itself.”

Rice University’s campus in Houston is one of the most compelling in the United States. Its original master plan was devised by Boston architect Ralph Adams Cram in 1909 and is characterized by a series of parallel, narrow buildings. It has, at least in spirit, been a consistent guiding force for more than 100 years. Not only did Cram devise a building typology, but he also created a formal language for the entire campus based on a particular set of materials, like Lovett Hall (1912) with its orange St. Joe Brick made in Louisiana from bayou clay, pink Texas granite, and gray Ozark marble and exotic inspiration, Adriatic Italian Byzantine architecture of the medieval era.

Maltzan says he was struck by the physical sensations of being on the campus. A massive grove of live oaks—planted at the time of the college’s foundation—forms allées between the buildings and is green year round. It hovers over the flat campus, and defines space architecturally as much as the buildings.

In his scheme, Maltzan figuratively pushed together the long, bar-like buildings and the landscaped spaces between them to “exaggerate the intensity of spaces.” The irregular mass of smaller classrooms and workshops interspersed with larger galleries and theaters will be clad in a charcoal gray brick colored with shimmery magnesium oxide that changes in appearance from light to dark, much as the tree canopy does throughout the day. These brick walls, which are mostly solid except for large, strategically placed openings for day lighting, will be raised one story above the ground. The ground level will be entirely sheathed with clear glass, an echo of the clear sightlines through the tree trunks under the leafy canopy.

Although its radical appearance will be a big departure from the more conservative buildings near it, the Moody Center will hopefully become a valued landmark as the campus architecture of Rice University continues to evolve and adapt.

In recent years, there has been a subtle but palpable change apparent in the construction of key buildings like the Brochstein Pavilion (2009), designed by New York architecture firm Thomas Phifer + Partners, and the Brockman Hall for Physics (2011), designed by Philadelphia architects Kieran Timberlake. Both are fitted between existing buildings and use different strategies: one a glass box and the other raised on tapered pilotis to minimize the intrusion. With these two buildings, a new, a less literal interpretation of Cram’s master plan has emerged that enhances and expands the original intent.

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Green Machine

Michael Maltzan and Arup propose eco-friendly redesign of Pasadena’s Arroyo Seco Bridge
Freeways were never meant to be environmental saviors. However, Michael Maltzan Architecture (MMA), working with Arup Los Angeles, has other ideas. In a proposal that advocates for the green possibilities of freeways, MMA has outlined how the Arroyo Seco Bridge in Pasadena can serve the neighborhood in more ways than one. "What if we ask more of the Arroyo Bridge without compromising the integrity of the existing infrastructural efficiency? What if the bridge became an experiential and aesthetic asset for residents and visitors? What if we demand that the bridge do more?" MMA asked. The two firms suggest draping the tunnel in vegetation and topping it with photovoltaic cells. Part of State Route 134 of the Ventura Freeway, the bridge accommodates ten lanes of traffic and, in MMA's words, "is at odds with its context, polluting the surrounding neighborhoods with noise and vehicle emissions and simultaneously eroding the Arroyo landscape between the San Gabriel Mountains to the north and the Los Angeles River to the south." Storm water captured from the bridge canopy would irrigate the plants. The vegetation would also soak up the carbon emissions from traveling vehicles. Other design features would include: acoustically-insulated walls that would hamper noise pollution (transparent panels would preserve views to the Colorado Bridge to the south and the Rose Bowl to the north) and "porous concrete ‘lungs’" that would make use of photocatalytic concrete will improve air quality by removing pollutants—just in case the plants can't do their job. Envisioning an “environmental machine,” MMA said they aim to design a "solution that celebrates the experience of driving over the Arroyo Seco while sustainably integrating the freeway into its immediate context." MMA also hopes that their proposal inspires others to see the potential that freeways, or any major roadways for that matter, have for developing relationships between transportation agencies, local municipalities, and state agencies. "As an approach to infrastructure, these types of enhancements are not specific to the 134, but are expandable to other freeways," the firm said. This article was first mentioned in the Los Angeles Times.
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Hennessey +Ingalls to move from Santa Monica to Michael Maltzan’s One Santa Fe in 2016
Hennessey + Ingalls is a rarity in an age when bookstores that survived the rise of Amazon are often indistinctive superstores or exercises in hipster curation. Los Angeles’ long-established mecca for art and architecture is neither. Fans were nervous when the store shuttered its Hollywood annex in Space Fifteen Twenty last spring. While the Santa Monica store on Wilshire and 2nd will close at the end of the year, it will reopen in a new space at One Santa Fe, the mixed-use development complex designed by Michael Maltzan Architecture. When Reginald Hennessey first set up the store in 1963, it catered to an up and coming community of artists, architects, and art enthusiasts. The tradition of stocking its wooden shelves with rare, sometimes out-of-print books has continued to enthrall readers from around Los Angeles and has even managed to attract the attention of design institutions from all over America. The family owned store was passed down from Reginald to his son and finally grandson, Brett, who now runs the business. He was responsible for computerizing the operations and increasing the store’s online presence. Initially based out of Santa Monica with a branch in Hollywood, the business had to close down the latter due to an increase in rent and a smaller customer base. The store, currently 8,000 square feet, is downsizing to a smaller, but better-located 5,000-square-foot location in the Arts District. “We were focusing on Downtown L.A. and crossed paths with Michael Maltzan. It just turned into a really good partnership because One Santa Fe is right up our alley. The curation of businesses there are kind of what we like most about it,” said Brett Hennessey. The bookstore anticipates a bigger customer base at its new location, located right across the street from SCI-Arc, a few minutes away from FIDM, and even close by to the University of Southern California. “People can drive in from 360 degrees around us. The problem with Santa Monica is that only half the side can drive to the store” quipped Hennessey. Hennessey + Ingalls will celebrate the last holiday season out of Santa Monica and will open its doors again in February 2016. This time in DTLA.
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Eavesdrop> Hollywood Hits the Beach: Who will live in Michael Maltzan’s new triangular house?
Rumor has it that Michael Maltzan Architecture (MMA) is hard at work on a triangle-shaped Malibu home for one of Hollywood’s biggest names. The MMA crew is keeping mum on the client, but we’ve heard it’s not an actor. Geometric coastal living for a director or producer, perhaps? According to Michael Maltzan's website:
Malibu’s coastline is defined by an unbroken band of residences; their repetition and consistency of scale reduces the individual house to a stripe in this striated border separating the Pacific Coast Highway from the expanse of the ocean... The form of the Broad Beach Residence arises from the confluence of these circumstances. The house consists of a single bar punctured by a tapered form that expands towards the ocean. As visitors pass through the threshold of the bar, the building’s form maximizes framed views to the western horizon by extending the visual limits of the house to embrace the ocean beyond. The residence’s formal inflection scales the domestic in counterpoint to the horizon. Simultaneously, the form creates a more consensual relationship between the residence and the beach, between public space and private space, and between the perception of scale and its physical form. This spatial infiltration is mirrored in the sectional overlap of the public beach and private space of the home. Sand slips like a carpet under the floating mass of the house, a thin stair slumps from the structure to the beach floor, and a heavy mass rises out of the sand to support the main volume above. As the angular form faces towards the water, it carves out twin courtyards that flank the interior spaces and restore a middle-scale to the composition at the edge of the land.
[All images courtesy Michael Maltzan.]