Search results for "morphosis"

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Just Don’t

Los Angeles is at a crossroads—don’t let it become New York
Makin’ my way downtown, I zip along on my Lime® scooter through the ersatz Japanese village of Little Tokyo, past taxis, buses, and Prii, to a bustling, small-scale warehouse district on the fringe of Los Angeles’s central core. The whirlwind of scales, land uses, languages, and people is dizzying, but I finally land at my destination: Sonoratown, a lively taco spot famous for its soft tortillas, which are made with flour driven up from Sonora, Mexico, in small batches by the owner’s mom. This delirious, quasi-urban experience is one that could only happen in the messy, diverse urban fabric of Los Angeles. You are free to grab whatever pieces of the kaleidoscopic surroundings you can, and the faster you are moving, the more there is to take. Somehow, this frantic energy and free movement seem unaffected or held back by the past. The cultural critic Sean Monahan called LA the capital of the 2010s, describing it as:
...a city whose attributes anticipate collapse: flat and amorphous, rather than vertical and defined; kitsch and pop, rather than avant-garde and tech; individualistic and mass, rather than institutional and elite. You can suggest San Francisco, HQ of disruption, or New York, backdrop for protest movements (#OWS, #BLM). But both places fail to capture the spirit of the age, because they are fighting so hard to change it. They are relics of empire, unsure of themselves after a decade in which success was indistinguishable from failure… Built on celebrity, media, and lifestyle, L.A. doesn’t presume to be building the future, merely inhabiting it. It’s a pick your poison kind of place. [Go wild] at Chateau Marmont. Spend half your paycheck on inscrutable health food at Erewhon. Commute four hours so you can live in a Riverside McMansion. Drive Uber every day, write screenplays every night. Sell out, drop out, suck up, fuck up. There is no right or wrong way to do L.A.
Monahan accurately describes why Los Angeles encapsulates the present, and why it’s the most exciting place in the US right now. However, it is also important to note where the city is moving in the 2020s. With the 2028 Olympics as a finish line, Los Angeles is at a crossroads, on a path to become a different place in the next decade. But with the city already at the forefront of global media culture (The Kardashians, Moon Juice, Goop, etc.), it doesn’t need global architecture to maintain its position as a worldwide force. How it defines itself as a physical place is still up for grabs, and it should learn lessons from other hyper-globalized cities, namely New York. Tomorrow’s Los Angeles is one of layers. Moving on from its days as a bastion of mythological American modernism centered around mobility (cars), individuality (single-family homes), and triumph over nature (lawns), it will add new collectivities on to itself. These layers will arise from the constant flux of the new: Technologies and emerging social patterns meld nicely into the loose, still-codifying culture and its corresponding urban forms. It is the flickering of new, communal, car-free, publicly subsidized lifestyles against the old, car-centric, low-density, low-regulation, “libertarian” bones of the urban landscape that make it such an interesting place for urbanism today. The oft-bandied-about claim that the city is libertarian is also not entirely accurate, as California is a sea of regulation and red tape, continually votes to raise its already high taxes, and both California and Los Angeles are leading on climate action. The city is quietly building public infrastructure at a pace that vastly outpaces New York. New York’s Second Avenue Subway took somewhere between 10 and 100 years to complete three stations, and the next phase will be three stops and will be completed by 2029 at the earliest. Meanwhile Los Angeles is (optimistically) on course to build 28 new lines by 2028. This includes an airport-connection line that will allow a direct link from LAX to the city. Meanwhile, New York’s MTA is in a worsening crisis with crumbling stations and delays only getting worse, and New Jersey’s NJ Transit recently gave up on accounting for the traffic expected to reach the American Dream Mall, instead calling on private industry to complete the line, citing none other than Los Angeles’s electric rail airport connector as an example. That’s right—L.A. is leading the way in public transit. Meanwhile, Uber, a municipal car share and micro-mobility options such as scooters have already altered how people get around (many young people don’t have cars at all) and where they live, partly due to an explosion in transit-oriented development around the new metro lines. It is unclear exactly how successful, affordable, and sustainable this will be, but change is certainly underway. New transit networks both public and private, along with lower parking requirements for new construction will profoundly impact development and housing typologies in the future. But it is no secret that Los Angeles is careening toward a New York–like affordability crisis (if it isn’t there already) that goes hand-in-hand with the urban whitewash of global capital. Homelessness is at record levels and only getting worse. In response, architects are working to develop new housing typologies, from affordable prototypes and accessory dwelling units, to larger, multi-family schemes that continue to evolve with new regulations and design challenges. The L.A. River and the L.A River Greenway in the San Fernando Valley are also emerging sites of urban experimentation and reclamation/rehabilitation of greenspace. Los Angeles has a unique architectural culture and urban fabric, but red flags are emerging. First, Bjarke Ingels Group and Herzog & de Meuron, international firms that are both very popular with the New York development community, have projects downtown. Related Group (of Hudson Yards fame) has moved in and is developing a large Frank Gehry project across from Gehry’s own Disney Concert Hall. It perfectly illustrates the lower design quality of developer-led construction and echoes Related Companies’ other project, Hudson Yards: “The project is anchored by a central plaza wrapped with shopping areas and public art.” The biggest red flag might be the shortlist for the La Brea Tar Pits project. In Miracle Mile’s Museum Row, a neighborhood that already has been marred by architectural globalists—once by KPF and twice by Renzo Piano—the shortlist for the La Brea master plan is New York establishment firms WEISS/MANFREDI and Diller Scofidio + Renfro, along with Danish firm Dorte Mandrup. It is a truly odd and troubling list. All three are talented firms, but their selection signals the wind turning toward a placeless architecture where, in California terms, “there is no there there,” reflecting classic donor-class aesthetics. Don’t even get me started on what director Michael Govan and the LACMA board are doing to push through their new building. Joseph Giovannini said it best:
In a sleight of hand that still has serious consequences for LACMA and Los Angeles, Govan introduced [Peter] Zumthor, the architect who presumably could achieve this world-class building, to his Board of Trustees. There was no competition, no public review or discussion, no transparency, just a shoo-in of the architect who had arrived in Los Angeles in Govan’s back pocket. “It won’t be the seventh Renzo Piano building in the country,” Govan explained to me in an interview. “We’ll have the only Zumthor.” …Had he even made it into a normal architect selection process, the jury might have concluded that he was mismatched and dangerously underequipped for the commission.
Some Angelenos say that local architects should get their due. L.A. has been defined in many ways by outsiders such as Neutra and Schindler, but also by local legends like Thom Mayne and Frank Gehry, as well as a younger generation like Barbara Bestor, Michael Maltzan, and a host of others who can deliver top-notch design. Los Angeles doesn't need the continental, polite, same-as-everywhere architecture that plagues institutions around the world. The architecture scene has always valued experimentation and allowed younger, more avant-garde approaches and diverse practices to gain ground, outside of the institutional weight that plagues places like the East Coast. It is not “provincial”—as some claim—to want to preserve this well-established local flavor while moving forward. In fact, what would be provincial is thinking that it is necessary to look outward for world-class architecture, or that a mythical global culture needs to be imported for the city to become a world-class place. Nothing defines the periphery like the center, and nothing makes one more provincial than defining oneself against New York. Of course, outside architects can come in and add to the culture; it just takes a bit of judgment. For instance, Spanish firm SelgasCano’s bright, breezy, kit-of-parts style seems to fit with L.A.’s pop modernist aesthetic, and Arata Isozaki’s MOCA has also become an iconic part of L.A. architecture. So let L.A. be regional and different. Don’t let it succumb to the pressures of global capital and “global architecture.” Don’t let Boyle Heights—a strong Latino neighborhood under development pressure, with several buildings already being renovated—become Hudson Yards. New York City has been ruined by capital, which was weaponized to take away the grittiness of places like Times Square, a project of Ed Koch and eventually of Rudy Guiliani. Later, technocrat billionaire Michael Bloomberg finished the sanitization of the city with sloppy rezonings of Williamsburg, West Chelsea, and Long Island City most notably, which ushered in the era of bland office towers and mega mall-like sterility. Developers like President Donald Trump and Related Companies, along with their elected enablers like Bloomberg and Guiliani have shared class interests that threaten the small-scale, local and regional urban landscapes where artists, immigrants, and the working class foment culture. How can Los Angeles be a laboratory for resisting the entropic, hegemonic cancer that is global capital, the global donor class, and the donor-class aesthetic? One tactic, and to be fair, something that the Bloomberg administration got right in places like Brooklyn and Staten Island, is downzoning to preserve the character of neighborhoods. This is also tricky and can lead to NIMBYism, which L.A. has certainly had its share of recently. In a similar vein, Thom Mayne provocatively suggested clustering development on the Wilshire corridor in order to protect other areas. The Wilshire area has seen some development, but not at the scale Mayne has suggested. Additionally, serious and innovative criticism is needed. Critics must not fall into 20th-century modes of operating; they have to get out in front of these debacles rather than react to them. There are a host of critics operating in Los Angeles, and no one is better positioned to have an impact than former L.A. Times architecture critic Christopher Hawthorne, who is now in a unique role as the Chief Design Officer for the City of Los Angeles, a position where he is literally helping craft RFPs (request for proposals). As long as Hawthorne is able to be heard in the government and in the public and can surround himself with good people who will help guide L.A. through this crucial time, there is a real opportunity to have more and more expert opinions in the process that will avoid the disasters that haunt New York. This, along with more equitable and compensated juried design competitions, can help the people who make financial decisions make "better" aesthetic and cultural decisions. Regionalism, when connected to local ecology, provokes more interesting and nuanced design than a totalizing, global aesthetic. In terms of what resistance might look like outside of design review, Los Angeles is already taking on challenges in a unique way. In Boyle Heights, gentrifying art galleries have been pushed out by strong neighborhood coalitions demanding affordable housing and neighborhood services. Los Angeles could also adopt anti-gentrification policies such as rent control or downzoning to prevent the displacement of both residential and retail spaces. Many cities have adopted such plans, while Berlin and other cities have enacted rent freezes and other regulations on the housing market to ensure affordability. Los Angeles in many ways is the logical conclusion of the myth of the American West. Several time zones and thousands of miles in distance from New York and other global cities, it has historically been connected to global culture through mass media, not physical space. This isolation has left it to its own devices as an urban place. This doesn’t need to change as it grows into more of a global force. New forms and ways of living can be cultivated without abandoning what makes it a special place: its resistance to the forces of the outside. In the 2020s, defining a new localism would be quite an amazing achievement.
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Tinsel Town Facades

Gensler's Michael Volk and Olivier Sommerhalder discuss Facades+ LA and the trends reshaping their city
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From November 14 to 15, Facades+ LA will bring regional, national, and international leaders of the AEC industry to Southern California for the fifth year in a row. Hosted by The Architect's Newspaper and co-chaired by Gensler's local office, the conference is split between a full-day symposium and a second day of hands-on workshops. Conference keynotes include MVRDV principal Fokke Moerel and Rojkind Arquitectos principal Michel Rojkind. Other participants at the conference symposium and workshops will include Access Industries, Belzberg Architects, Christopher Hawthorne, CO Architects, FreelandBuck, Front, Gensler, Griffin Enright Architects, Grupo Anima Mexico, HGA, John Fidler Preservation Technologies, Morphosis, Neme Design Studio USA, Omgivning, PATTERNS, RDH, Rios Clementi Hale Studios, Walter P Moore, Trammell Crow, Sasaki, Shubin Donaldson Architects, Spectra Company, Studio NYL, WJE, and Zahner. In this interview with The Architect's Newspaper, Gensler principals and conference co-chairs Michael Volk and Olivier Sommerhalder discussed their firm's recent work and the architectural trends reshaping Los Angeles. AN: Gensler is the largest architectural and design practice in the world. How does this breadth of scale impact design at the regional level? Michael Volk & Olivier Sommerhalder: As an integral part of our firm’s philosophy, our 50 global offices practice as though we are one firm, and we have set up our infrastructure to fluidly support this behavior. We bring our global knowledge and a very deep bench to bear on every endeavor, from large scale international work to regional and local projects. Our dimension is such that it allows us to have in-house expertise in many relevant disciplines, including facade experts, and we bring this capability to the table wherever needed, at any time, making us nimble and innovative designers who add value to our client’s projects. What exciting projects is the Los Angeles office up to, and are you demonstrating any concepts tested at your research institute? In our Los Angeles office, as in all our offices, we are extending our thinking on building design to the scale of shaping the future of cities. At the forefront of this is a design that addresses energy, climate, and housing concerns. Like many things in design, we are finding, however, that low tech and simple solutions are most impactful and meaningful in addressing these issues. Projects such as our office building C3 in Culver City and upcoming projects now on the table for mixed-use and residential high rises downtown and in the Hollywood area are returning to simple passive solar and ventilation techniques, as well as significant integration of public and private green space, to reconsider the “First Principles” of their typologies. Living with nature and consuming less energy and water, while at the same time being in closer proximity to intellectual, economic and recreational capital, are among the positive aspects of urban life research shows to be most valuable and sustaining. Los Angeles is in a certain sense maturing as a city. What do you perceive to be the most interesting trends within the region today? Los Angeles is indeed maturing, and at the same time it’s dimension and urban condition make it an ideal city to be a testing ground for new urban innovations. Housing, density, and mobility are the leading topics, alongside climate change and energy considerations. These topics are often seen hand in hand leading to development in the city. For example, with the expansion of Metro-rail corridors, mixed-use and higher density projects are naturally emerging, bringing with them an integrated, urban lifestyle of live/work/play within a short radius that is somewhat new to Southern California. As another example, long-standing neighborhoods now connected by mixed-use corridors and transportation, are evolving into multi-faceted hubs, rather than the single-use bedroom communities they traditionally have been. This has had the consequence of shrinking the typical radius of commuting and the positive synergistic effect of an organic mix of programs supporting a vibrant daily life, increasing economic and cultural offerings within a denser fabric. Another surprising observation that may seem counter-intuitive considering Southern California’s envied climate: Over the past few years Los Angeles’ built environment seems to have rediscovered the connection to the outdoors. The mainstream has adopted outdoor patios for restaurants, the workplace has begun an extension of the workspace to the outdoors, and new apartment buildings and condominiums have generous balconies and roof terraces. This once-forgotten, but obvious, benefit is having a big impact on the design of buildings, envelopes, and landscapes. Which materials do you believe are changing facade practices in terms of design and performance? The most exciting material, surprisingly, is landscape. Projects like Second Home in Hollywood by Selgascano, and our projects for One Westside, Epic in Hollywood and several mixed-use and residential high-rises we are currently working on in the city are (re) introducing landscape as a major building and space-defining element. The notion of biophilia as a driving conceptual element has emerged internationally in the last years in places like Europe, South East Asia and significantly in Singapore. Now, in Los Angeles, we are beginning to see this design thinking taking place. Landscape as a design element is now becoming foreground - as it can and should in our climate, not just background as it often has been. More conventionally, timber and wood are also emerging on the horizon, not only as a primary structure but also as an envelope. Our project for the Headquarters of the company Alexandria in Pasadena includes a unitized curtainwall made of white oak with a second skin of wooden sunscreens. Further information regarding Facades+ Los Angeles can be found here.
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Stick that in your Claw

Morphosis-designed Sunset Strip hotel lambasted by West Hollywood residents
Though the city of West Hollywood gave its approval to a construction timeline for 8850 Sunset Boulevard, an audaciously designed 15-story hotel and condominium by Morphosis that will replace the infamous Viper Room, the city’s residents are loudly singing a different tune. On October 10, several residents of West Hollywood attended a public meeting hosted by the city where they were given an opportunity to voice their opinions. Most participants were concerned that the aesthetic profile of 8850 Sunset Boulevard and its presence on the Sunset Strip would not be considered in an environmental analysis, which is typically state-mandated for all buildings of this type. “It doesn’t belong on Sunset Boulevard,” said Jessica Hancock, a resident of West Hollywood for 47 years, before commenting that the proposal might be more fitting in cities like Dubai or Las Vegas. Another resident commented that the proposal is “too tall, too massive, and the design is grotesque.” According to Curbed, Doug Vu, the city’s senior planner responded to these and other aesthetic complaints by stating that the site’s proximity to a significant transit corridor can legally excuse its design from being subjected to state regulations, and that it “may not be considered an environmental issue per se under the California Environmental Quality Act.” Others were concerned about its treatment of the Viper Room, the bar and nightclub cofounded in 1993 by Johnny Depp which currently sits on the site. Plus Development, the current development manager, plans to demolish the Viper Room, along with every structure on the block, and reconstitute the club into the ground floor of the new building, where its character will undoubtedly be altered. Subsequent public meetings concerning 8850 Sunset Boulevard and other proposed developments along the Sunset Strip are planned to take place in the near future, as the environmental review continues—and as the makeup of the street shifts away from low-rise entertainment venues and towards luxury hotels and housing.
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Sketch Away

Architects and engineers will hone their skills during Facades+ L.A.'s Transitions Detailing Workshop
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Facades+ Los Angeles, taking place on November 14 & 15, is a two-day conference hosted annually by The Architect's Newspaper that highlights the region's most prestigious projects and advancements in facade technology. The second day of the conference is devoted to eight workshops that will provide a unique opportunity to dive into in-depth dialogues and tutorials with architects, contractors, engineers, facade consultants, and manufacturers. Since 2017, Facades+ has consistently featured the "Transitions Detailing Workshop: Where Systems Meet" workshop, this year led by Bradford J. Prestbo, associate principal of Sasaki; Chris O'Hara, founding principal of Studio NYL; Will Babbington, facade design director of Studio NYL, and Stan Su, director of enclosure design at Morphosis. The multi-year collaboration is a response to certain negative characteristics of the architectural community. "Historically, architects don't do a very good job of sharing knowledge or lessons learned," said Prestbo. "We saw this workshop as an opportunity to both share knowledge and teach others." The workshop is divided into three portions: Presentations, group work, and review. For the presentations, the instructors will largely draw from their own respective bodies of work and particular expertise. Prestbo begins with a discussion of opaque facade assemblies and their transitions to other systems. Su follows this demonstration with a dive into strategies for complex enclosure geometries—recent projects within this category include the Kolon One & Only Tower and the ongoing Orange County Museum of Art. Babbington and O'Hara wrap up the presentations with case studies stemming from Studio NYL's facade consultancy work, as well as their own takes on the projects already discussed. Over the next two hours, the attendees are broken up into a series of small teams, sketching systems solutions to mid-century modern projects and are supported with continuous feedback from the instructors. "These projects represent a variety of program and construction types, ranging from small residences to large commercial structures, using a mix of steel, concrete, masonry and wood construction," said O'Hara. "We chose Mid-Century Modern projects because of our love of the buildings, but it represents an era of great architecture that really did not consider building performance or energy usage. We are essentially protecting the guilty that era." Case studies include the Farnsworth House, by Mies Van der Rohe; Niterói Contemporary Art Museum, by Oscar Niemeyer; Saint-Pierre & Villa Savoye, by Le Corbusier; Healy Guest House, by Paul Rudolph; Alcuin Library & Hooper House II, by Marcel Breuer; Case Study House Number Number 9, by Charles Eames and Eero Saarinen; Fisher House, by Louis Kahn; and the Denver Art Museum, by Gio Ponti.  The final half-hour of the workshop will be dedicated to the review of 'solutions' for the case studies by both the instructors and fellow attendees. This year, the instructors will also guide attendees to case studies more relevant to the climate zone of Southern California and in keeping with the state's increasingly stringent performance standards. Further information regarding Facades+ LA workshops can be found here.
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Keep Austin Robotic

ACADIA is coming to Austin for 2019, and here's what to expect
Stephen Mueller interviewed Kory Bieg, one of the conference chairs for the upcoming ACADIA conference in Austin, Texas, from October 24-26, to discuss the themes and events you can expect at this year’s gathering. SM: Why is ACADIA an important forum? KB: ACADIA is for a range of audiences. ACADIA started as a conference focused on education but has become increasingly engaged with practice. The research being carried out by both academics and practitioners has narrowed and the work from both has become entangled. You will see attendees from software, fashion, and product design companies at the workshops and the conference proper, working alongside Ph.D. students and full-time faculty. ACADIA’s mission is also to support student participation, so they have increased their effort to encourage students to submit their work and attend. Faculty who are part of large research groups—like those from Michigan, Cornell, and MIT in the U.S., or groups from abroad, like ICD in Stuttgart or ETH in Zurich—often send students to present on behalf of their team. It’s a good platform for them to find their way into a more permanent academic setting or a more specialized field in architecture. You and your co-authors mention in the introductory text for the conference proceedings that the “last decade was about unified and specialized areas of research,” and that now we are in a period defined by “ubiquity” and “autonomy.” Can you elaborate on some of the major trajectories and trends you are seeing? What’s changing? We think we are at a crossroads in computation. For the last ten years, we have seen big advancements in fabrication and the use of robotics. Recently, however, we are seeing a renewed interest in design theory, whether it be “the post-digital” or “the second digital turn.” We took a step back to think of why that might be, and what it might mean moving forward. In part, we believe the return to theory is a result of digital technologies becoming “ubiquitous.” Not only do you see fabrication technologies in big universities, but you can now find laser cutters and 3d printers in libraries, high schools, commercial box stores, and in everyday use at firms. On the other hand, you have more cutting-edge practices, like Zaha Hadid Architects or UNStudio, building in-house skunkworks innovating with and developing new technologies internally. Some employees are hired specifically for this purpose. We saw these new computation-oriented roles as becoming so specialized that they had almost become new disciplines—a kind of “autonomy” within the discipline of architecture. For this year’s theme, we see “ubiquity” and “autonomy” as two parts of a cycle, where innovation in computational design and technology begins in these autonomous groups of specialists, followed by more widespread adoption, universal access, and finally ubiquity of use. This happens at a large scale within the discipline, but also with individual researchers who silo themselves away for a while, only to emerge with some novel idea that they are ready to integrate with other people’s research. That is how the field evolves. The cycles of “ubiquity” and “autonomy” oscillate between the differentiation of individual positions and the forging of new research communities. In this framework, do you see new autonomous collectives emerging? It’s our goal to find autonomous projects and introduce them to the world. Our workshops this year are being taught by somewhat autonomous computational teams housed within successful architecture firms—groups from UNStudio, Zaha Hadid Architects, Grimshaw, HKS-Line, Morphosis, SHoP, and Autodesk. They are all interested in the overlap of technologies. UNStudio will run a workshop on the overlap of architecture and fashion. Grimshaw is working with Fologram and using the Microsoft Hololens, an AR technology, to help fabricate an installation without the use of conventional construction documents. We also have SHoP Architects using AR and robotics, and Zaha Hadid Architects using machine learning to help generate form. There is such a strange array of approaches to computational design offered in the workshops, that if their ideas start to spread, our field is in store for some interesting times ahead. Academic settings can incentivize autonomous modes of research, and in professional settings we often see niche developments serving as marketable advantages through proprietary or branded offerings. Among the diverse authors with niche approaches, is there an ethos toward the maintenance of autonomy, or do you see a proliferation of shared techniques? We are seeing an increase in the culture of sharing at ACADIA among its constituents. Morphosis, for example, is leading a workshop that is literally sharing their design method. I think most offices would consider this proprietary intellectual property, but Morphosis sees value in sharing it. Patrik Schumacher, of Zaha Hadid Architects, shares his ideas freely, and would be happy with more parametricism in the world. These offices mark a post-autonomous moment. This will also be an interesting question for the closing panel on our final conference day, where we will have a group of academics discuss the conference theme. We have invited people who represent very different approaches to architecture and design, including Ian Bogost, a game designer and author, Michelle Addington and Marcelyn Gow, who are both material experts but with different agendas, and Neil Leach, one of our discipline’s leading theorists. Kathy Velikov, the president of ACADIA, will moderate. Collaboration with machines and virtual selves promotes a certain type of autonomy while forging human/non-human partnerships. If computational collaborations are the new air that we breathe, how do you and the contributors see authorship changing?? Machine learning and AI are happening whether we like it or not. Because they operate somewhat autonomously from their creators—they are designed to run loose—there is no functional need for a sole author anymore. We are really at the beginning of AI/machine learning applications for architecture. There is a group of artists in Paris (Hugo Caselles-Dupré, Pierre Fautrel, and Gauthier Vernier) who sold a piece of AI-generated art at Christie's for $432,000, which proves there is public interest in what AI can produce, but there has also been some blowback. Critics have argued that because they are selling a piece that wasn’t generated solely by them, the value is inflated. But they were the authors of the software that created the piece, so who is right? It’s a controversial time. You’ve lined up some impressive keynote speakersThom Mayne, Dominique Jakob, and Harlen Miller—how would you characterize the mix? Why are these voices important now? We thought it was time, especially given the theme, to pick three practices that represent “architecture with capital A,” and to see how they have been using computational design tools, overlapping technologies, and cross-disciplinary collaborations within their office for built work. UNStudio, Morphosis, and Jakob + MacFarlane produce very unique projects and they each use technology explicitly, but also, differently. What parts of the conference are open to the public? Thom Mayne’s keynote lecture is open to the public and will be at the LBJ Auditorium on Thursday, October 24th at 6:15 pm. There will also be an exhibition of Morphosis Architects’ work opening on Friday night at 7:45 pm. This event will also include an exhibition of work produced during this year’s workshops and the peer-reviewed project posters. What else does the conference hope to change, or enable? I hope the conference encourages people to start looking at other disciplines for knowledge and expertise that we do not have within our own field and to further the progress that has already been made by overlapping ubiquitous technologies. I hope we continue to share knowledge between academia and the profession in a way that improves access to new tools, techniques, technologies, and ideas.
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White Claw Summer

Morphosis's claw-like Sunset Strip complex now has a timeline
After months of speculation, a timeline has finally been determined for the construction of 8850 Sunset Boulevard, a 369,000-square-foot development which would rise over 15 stories and occupy an entire block of the Sunset Strip between San Vicente Street and Larrabee Street. Following a recently completed study by the city of West Hollywood, it has been determined that construction can begin on the Morphosis-designed, Viper Room-replacing project in the Spring of 2021 and could be completed in as few as 32 months. The site was originally purchased in 2017 by Silver Creek Development Co. for $80 million, and the project is supported by multidisciplinary real estate company Plus Development. The renderings for the development were first unveiled last December, and it appears that little, if anything, of the design has been subdued since then. The proposal still comprises two aesthetically distinct towers between a 120-foot-wide grassy hill and above a transparent ground floor. The amorphous tower facing San Vicente will be a 115-room hotel, while the rectilinear tower facing Larrabee will contain 31 condominiums and 10 or 11 units of affordable housing. The complex's ground floor will be primarily mixed-use, including a new home for the Viper Room, the infamous bar cofounded by Johnny Depp which is currently on the site. Amenities accessible to both towers will include a movie screening room, a gym, and a rooftop pool and restaurant. In addition, a three-story LED screen will be fitted into a void cut out of the tower facing San Vicente. When completed, 8850 Sunset Boulevard will be one of the most audacious buildings designed by Morphosis in its 47-year run, and will rival some of the firm’s other projects built around Los Angeles, including Emerson College Los Angeles and CalTrans District 7 Headquarters.
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Clay Bae

Architectural terra-cotta is advancing in Buffalo, New York
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Now in its fourth consecutive year, the Architectural Ceramic Assemblies Workshop (ACAW) has reached a new level of maturity. The annual conference, hosted in Buffalo, New York, counted a total of nine teams hailing from leading architectural and engineering firms across the country. For attendees, the gathering is an opportunity to part the veil behind the architectural terra-cotta manufacturing process, experiment with new concepts, and physically transform them into full-scale prototypes.  The collaborative project is the product of an ongoing partnership between manufacturer Boston Valley Terra Cotta (BVTC) and the University at Buffalo School of Architecture and Planning (UB/a+p); engineering firm Walter P Moore served as an additional sponsor for the event. Buffalo, New York is home to a broad range of 20th-century architectural heritage. It should then come, perhaps, as no surprise that BVTC made its bones in the field of architectural preservation. The company, originally founded in 1889 as Boston Valley Pottery, was purchased by the Krouse family in 1981 who converted the operation into a manufacturer of architectural components. Beginning with local restoration projects such as Louis Sullivan's Guaranty Building, BVTC has since partnered with UB/a+p in the use of digital documentation to mass-produce historic architectural pieces. The use of digital design has facilitated BVTC's ascent in the field of custom terra-cotta assemblies; current projects range from Kohn Pedersen Fox's (KPF) supertall One Vanderbilt to Morphosis's Orange County Museum of Art The teams were made up of new attendees and familiar faces who had developed their prototype concepts in the months leading up to the conference. The prototypes largely followed the ACAW statement of intent, which encouraged an exploration of the intersection between ceramic furniture and cladding. Projects ranged from SHoP Architects' self-supporting structure formed of interlocking terra-cotta units to KPF's manipulation of geometry and glaze embedded atop a concrete panel. There was also a significant alteration to the overall procedure of the conference. Andy Brayman, founder of the Kansas City ceramics collaborative Matter Factory and past ACAW attendee, recently partnered with BVTC to develop the company's first off-site Research & Development Lab within his own facility. "This strategy is helpful when taking on the ACAW projects which by their very nature contain at least one element (and often several) that could be considered experimental," said Brayman. "The bulk of the technical know-how comes from BVTC and it is augmented by research that has been done at the Matter Factory. Taking the projects out of the main factory that is focused on the production of existing jobs allows a different dynamic to take place." The conditions present at the BVTC are effectively replicated at the Kansas City collaborative as the gas-fired kilns are produced and calibrated by the same Italian manufacturer. Keynote speakers, many of them also workshop attendees, included Andy Brayman;  Dr. William M. Carty, a ceramics professor at Alfred University; Billie Faircloth, partner at KieranTimberlake; Sara Lopergolo, partner at Selldorf Architects; Sameer Kumar, director of enclosure design at SHoP Architects; Jason Vollen, vice president High Performance Buildings AECOM. What is the overarching goal of this annual earthenware gathering? According to UB/a+p associate professor and conference organizer Omar Khan, "ACAW’s ambition is to make Western New York a recognized center for architectural ceramic research. It is the only one of its kind and we feel that it will influence design and innovation in terracotta usage. From this year’s success, we are already receiving many inquiries to participate next year but our intention will be to internationalize the participants to some extent. This will put other issues and traditions in the mix, which we feel will help us better address more global concerns." Let's see what the future has in store for this corner of the Empire State.
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Paving on Parker

Morphosis, Renzo Piano, SOM among shortlisted for civic office tower in L.A.
Less than three months after the controversial demolition of the Parker Center in downtown Los Angeles, a shortlist of high-profile architects has been released to head up the design of a new, 27-story municipal office tower in its place.  The $700 million “Los Angeles Street Civic Building Project” as it’s temporarily called, is being spearheaded by L.A. Bureau of Engineering and has been in the works for quite some time. The agency, which oversees the planning, design, and construction of all public buildings, infrastructure, and public spaces, first introduced the idea to raze the Parker Center, previously home to the city’s police department for 55 years, and build atop it in 2016. At the same time, the Cultural Heritage Commission was trying to get the aging building landmarked but failed to meet the deadline. The L.A. City Council ultimately approved the overall proposal in 2017 on the belief that a new tower would be less expensive than preserving and revamping the Parker Center’s 319,000-square-foot exterior envelope.  Though design details haven’t been released yet, the upcoming 450-foot tower is slated to contain 750,000-square-feet of office space with room for a conference center, a childcare facility, retail space, and an underground garage. Initial concepts for the project lightly reference the surrounding city buildings in the Civic Center District, including Los Angeles City Hall, a structure of similar height. Plans also call for a landscape that links pedestrians to Little Tokyo nearby, according to Urbanize L.A.  After issuing a request for qualifications this spring, the Bureau of Engineering reduced the five submissions it received down to a shortlist of three. Below are those finalists: DTLA Civic Partners, LLC This local team is led by SOM and Clark Construction, funded by Meridiam and Edgemoor Infrastructure & Real Estate, and managed by ENGIE Services. LAC 3 Partners L.A.-based firm Morphosis is at the helm of LAC 3, which includes Hensel Phelps Construction, Macquarie Financial Holdings, and JLC Infrastructure, as well as Honeywell International in operations management.  Plenary Collaborative Los Angeles Smith Group and Renzo Piano Building Workshop are working together on the design for the project, while Webcor Construction, Plenary Group, and Johnson Controls will serve as the building, equity, and operations experts respectively.  Once this shortlist is approved by the L.A. Board of Public Works, an RFP will be presented to the City Council ahead of any further announcements. Construction is expected to start next year and end in 2023. 
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Digital Overload

ACADIA announces keynote speakers and awardees for 2019 conference
The Association for Computer Aided Design in Architecture (ACADIA), an organization that connects architects and design professionals working with digital technology, has announced the awardees and recipients for its 2019 conference, which will be held this October at the University of Texas at Austin. Titled “Ubiquity and Autonomy,” ACADIA says this year’s conference will investigate “the blurred divide between analog and digital processes,” a division (or non-division) of increasing importance to both architecture and daily life. Through various presentations of papers and projects, participants will question how emerging technology might change both how architecture is done, and what architecture is. Keynotes will be given by Morphosis's founding principal Thom Mayne, Jakob + MacFarlane founding partner Dominique Jakob, and UNStudio senior associate Harlen Miller. Mayne will also be receiving the ACADIA 2019 Lifetime Achievement Award. Awards will also be given to Dana Cupkova, Roland Snooks, Jose Sanchez, and Chris Yessios, and the Master of Science in Digital and Material Technologies at the University of Michigan Taubman College of Architecture and Urban Planning will be recognized as well. Leading up to the conference, which takes place from October 24 to 26, there will be three days of workshops with titles such as: Digital Tailoring: Form-Fitting Bizarre and Provocative Typologies, an investigation of the meeting of architecture, fashion, and the body, and Freeform Fabrication: Hand-bending timber structures with intelligent holographic guides, which will look at mixed-reality solutions for timber construction.
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Schvitz Stop

This year's Finnish Burning Man pavilion will let visitors steam in the desert
Helsinki-based architects at JKMM are designing this year's Burning Man pavilion. In true Finnish style, the installation will be a full-fledged sauna. Each year, the organizers of Burning Man, the festival-slash-anarcho-communist gathering in Nevada's Black Rock Desert, ask designers to envision and execute singular works of art. For the festival's 2019 edition, organizers tapped JKMM and Sauna on Fire to design Steam of Life, a usable installation that's intended to energize participants with a good schvitz and introduce people to Finnish sauna culture. The circular Steam of Life will be built from timber, and its spiraling program is meant to gradually transition visitors from the harsh and arid conditions outside into the moist spa bliss within. According to JKMM, a curving passage will beckon the sauna-ready through a darkened area as a soft transition from the desert's brightness. The interior, meanwhile, is furnished with wooden benches and a stove. After the session, visitors will file into the shaded atrium at the center of the pavilion for a final cool down and relaxation. JKMM CEO Samppa Lappalainen selected architects Marcus Kujala, Hannu Rytky, and Päivi Aaltio from his firm to design the project, which will be built by Burners (Burning Man attendees) at the end of this month. JKMM's collaborators at Sauna on Fire are sponsoring a camp at Black Rock City—Burning Man attendees sort themselves out into camps—districts—organized around the burning effigy for which the gathering is named. Following this year's theme of "metamorphosis," Steam of Life's core values, according to its designers, are " [co-creation], volunteerism and inclusion of diverse participant backgrounds. Through self-organizing as an organization model, we aim to empower participants to learn new skills and foster a positive spirit for learning via decentralized decision-making via the build of a sauna installation to Black Rock City. Moreover, in the long run, this way of organizing could foster new types of civic engagement and even address social problems such as marginalization in society. Ultimately, we wish to distribute our learnt [sic] knowledge about the co-created content to a wider audience." But there will be no funny business along the road to a better society. A concept packet released by Sauna on Fire maintains it is not a "party camp" or "XXX," and notes that there should be no "wild sex orgy in the sauna." Keep it clean, y'all. The earnest design of Steam of Life will complement this year's Burning Man central temple. Designed by San Francisco architect Geordie Van Der Bosch, the temple references the Fushimi Inari-taisha shrine in Kyoto, Japan. For those who have tickets, Burning Man begins next Sunday, August 25 and runs through September 2.
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Hanok Heritage

Morphosis designs a new plant-heavy Korean American National Museum for L.A.
Morphosis Architects has unveiled its vision for the upcoming Korean American National Museum in Los Angeles. Slated for a small site in L.A.’s Koreatown district, the two-story cultural space will embody the past, present, and future of the Korean-American experience through the integration of a distinct multi-cultural landscape.  Led by Thom Mayne and Morphosis partner Eui-Saung Yi, the project will be the first permanent home for the institution, which was established in 1991 in order to preserve and interpret the history and achievements of Americans with Korean heritage. According to the architects, the design of the museum’s future building was inspired by Eulho Suh, a Morphosis alum and founder of Suh Architects in Seoul, South Korea. His work is heavily influenced by the concept of “displaced memory” and its embodiment in the physical space. Several elements within Morphosis’ proposal attempt to pay tribute to this idea.  For example, the museum’s plan is structured around the traditional Korean Hanok, or home with a classic courtyard in the middle. The building’s core features a central open space through which everything else—from the fluid ring of galleries to the offices and meeting rooms—is centered around. Even its sweeping concrete facade, which forms an abstract shape that rises from a thin, landscaped podium, isn’t able to give away the surprising scale of the sculptural interior. The bottom of the structure, which dually serves as a welcoming public space, will feature an embossed pattern typically found outside Korean palaces. With the landscape as the main focus of the architecture, Morphosis set out to create what they call an “allegorical migration” of the Korean-American experience, full of traditional Korean plants mixed with local California flora. This is most easily seen in a rendering of the rooftop sculpture garden which will contain maple, pine, and bamboo trees. By combining these plantings, the museum acknowledges the impact of Korean immigrants in the United States, and the continuing duality of both countries’ existence today.  Morphosis also notes that the museum’s external configuration is meaningful. Located at the corner of 6th Street and Vermont Avenue, guests will enter the museum at the corner of the intersection and be greeted with a triple-height gallery with two intersecting volumes. “By disengaging from the Cartesian direction of the city blocks,” writes Morphosis on its website, “the new orientation signifies the autonomy of the displaced landscape and begins a more dynamic centrifugal experience.”  The Korean American National Museum is scheduled to break ground next year, with an estimated completion planned for 2020. 
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I Qiddiya not

Arquitectonica, Morphosis, HOK, Snøhetta, and more in running for massive Qiddiya giga-project in Saudi Arabia
Saudia Arabia is thinking big. A $500 billion project unveiled last year known as "NEOM" was dubbed a megacity and now, increasing by a factor of 1,000, Qiddiya, a new entertainment, sports, and arts venue, is being marketed as a "giga-project." Twenty-one architects have been tapped to work on the project so far, including nine US firms: H.O.K., Populous, Arquitectonica, Morphosis, Asymptote, 5+, CallisonRTKL, Rossetti Architects and Rockwell Group. The London office of Bjarke Ingels Group (BIG) is master planning the site, meanwhile, other practices will contribute to projects within the 130 square mile site, a third of which will be developed on. WilkinsonEyre, Mangera Yvars Architects, Steve Chilton Architects, from London; Coop Himmelb(l)au from Germany; 10 Design from Hong Kong and local studios Dar Al Omran and X Architects comprise the remaining architects involved. Securing that many architects of reputable caliber will be considered a scoop considering the news last year that Sir Norman FosterCarlo Ratti, and other leading design professionals withdrew their support for the NEOM project in the wake alleged killing of Washington Post journalist Jamal Khashoggi. Qiddiya Investment Company is backing the project, which will be located 28 miles outside of Riyadh, Saudi Arabia's capital. In a press release, the firm said BIG's plans were "constructed with careful consideration to the natural patterns that have been etched on the site throughout history, giving rise to a green-belt network carrying visitors throughout the property on roads, bike paths, and walkways built within an enhanced landscape environment."
Speaking to AN, Qiddiya's chief executive Michael Reininger said the area "will become Saudi’s capital for entertainment, sports, and the arts." The average summer daytime temperature is 113 degrees Fahrenheit. “The climate in Riyadh remains quite hot for four to five months, and our master plan was designed accordingly," Reininger said in response. "Buildings and spaces will be created ensuring there are sufficient shaded areas for the comfort of our visitors. We will introduce water and air movement to create micro-climates where temperatures can be controlled." Within BIG's proposals, five "zones" have been planned: The "resort core" will boast a car racing circuit, a Six Flags amusement park, an ice arena, and retail and dining facilities; A golf residential and community zone will offer two golf courses, equestrian facilities, a hotel, and 20 villas; An "eco zone" will offer luxury tents, the chance to spot wildlife and go hiking, and zip-lining among other outdoor activities (of which golf is included again); a "motion zone" will basically let visitors drive cars very fast, as the area will supply another racing track, this time part of a private racing resort, along with a high-speed loop for cars where "customers can discover their own cars’ max speeds," and an off-road area. Finally, Qiddiya's "City Center" will boast an aquatic center, multiplex cinema, two stadiums a bicycle velodrome, sports school, mosque, and performing arts center. All the aforementioned amenities and more will be designed by the architects involved, though who will design what has yet to be finalized. It is hoped that by 2030, the resort will attract 17 million visitors annually. According to the Architects' Journal, $30 million is spent every year by Saudis outside Saudi Arabia, something Qiddiya aims to cash in on.