It’s unclear if the group plans to appeal the ruling. In a statement shared by the San Jose Spotlight, Sand Hill expressed enthusiasm with moving forward despite the legal challenges and community uproar the project has faced over the past several years. “We can now put our full focus on moving the project forward for the future of the city of Cupertino, including how best to do so considering the complex challenges that COVID-19 has brought on all of us,” said Reed Moulds, managing director for Sand Hil. “It is time to set aside our past disagreements and come together in cooperation of building a better and more sustainable future for Cupertino.” Speaking to the Mercury News, J.R. Fruen, a pro-growth advocate with the group Cupertino For All, referred to the ruling, one of the first major legal challenges regarding SB-35, as a “gigantic win for housing advocates specifically, and a huge win for proponents of development in general.”
BREAKING: ANOTHER HUGE WIN FOR HOUSING: Cupertino opponents of housing, including a sitting Planning Commissioner, lost their legal bid to kill the Vallco SB 35 project. @MarisaKendall @HansenLouis @JaniceBitters @SJSpotlight @sanjoseinside @anniefryman https://t.co/fSzRTw0xnj— Cupertino For All (@Cupertino4All) May 6, 2020
Posts tagged with "California":
Yahoo News reported that city officials are also mulling converting vacant motels and hotels to house homeless individuals as the outbreak spreads. “This is an immense undertaking logistically and it’s never been done this quickly in a city, anywhere,” said Garcetti in a statement. “If we don’t get folks off the street, they will become the main spreaders or among the main spreaders of COVID-19 and a threat to themselves.” To date, no unsheltered person in Los Angeles has tested positive for the coronavirus. Outside of Los Angeles, a homeless man in the Santa Clara Valley died earlier this week from COVID-19 in the first known instance of an unsheltered individual succumbing to the virus. There are, as of March 17, 138 cases in ultra-wealthy Santa Clara County and 297 across the greater San Francisco Bay Area. San Jose, California’s third most populous city, has installed hand-washing stations, portable toilets, and showers near established homeless encampments to promote improved hygiene, as reported by Bay Area CBS affiliate KPIX. In the wake of the reported death, however, homeless advocates are urging officials to enact greater, more urgent measures a la Los Angeles. “We’re accelerating efforts to identify motels and other locations where we can move folks as soon as the testing indicates we need to get them out and away from others,” said San Jose Mayor Sam Liccardo in a statement. In San Francisco, plans to provide emergency shelters to its homeless population are also coming together. Trent Rhorer, head of the city’s Human Services Agency, is currently in the process of securing large facilities that could accommodate, in the words of the San Francisco Chronicle, “at least 3,500 people who are either unsheltered or who live in congregant settings where they have to share bathrooms and kitchens and cannot self-quarantine.” Shuttered college campuses and churches are being considered by Rhorer and other city officials as are vacant hotels and motels. As the Chronicle reports, Rhorer has already secured 500 hotel rooms for the express purpose of housing the homeless. Across the Bay in Oakland, the state government has also secured two hotels with nearly 400 rooms between them in a bid to shield the unhoused from the virus. However, one not-so-insignificant issue remains: how does the city staff these temporary facilities with case managers, drug counselors, and other workers that would normally be on-hand at a non-ephemeral homeless shelter? Rhorer is confident that it can happen. “It’s not like just setting up an emergency shelter in an earthquake,” he told the Chronicle. “But we can do this. We don’t have a cash flow issue in this city, so we can move fast. You brace for the worst and hope for the best.”
In moments of crisis, we have to respond with every possible resource. Today I activated the Disaster Service Worker program, so we can redeploy any @LACity employee necessary to combat the COVID-19 crisis and assist in efforts to house the homeless. https://t.co/7XDrK0zW5v— Mayor Eric Garcetti (@MayorOfLA) March 19, 2020
LEVER Architecture’s Thomas Robinson discusses the impact California could have on the timber industry
We are witnessing a revolution in how we build with engineered timber in the United States.
In January 2019, the International Code Council (ICC) approved changes that would allow high-rise wood buildings in the 2021 International Building Code (IBC). Oregon and Washington were early adopters of these code changes, and Denver, Colorado, recently followed suit. Other states and municipalities are expected to adopt the 2021 IBC timber provisions early, but it is anyone’s guess what California will do. Will the state decide to adopt now, or will it wait till the code becomes part of the new issuance of the 2021 IBC? This is an important question not just for California, and by extension the City of Los Angeles, but also for the future of mass timber in the U.S. and beyond. California standards and codes transform markets, and a mass timber movement in the U.S. without the state that is also the world’s fifth-largest economy is not going to move the needle fast enough. The opportunity to scale a low-carbon, renewable supply chain to address catastrophic climate change is closing quickly, and it is time for California to step up and demonstrate the progressiveness and leadership that have been key to its prosperity.
What does early adoption mean in practice? Today, an architect in Oregon or Washington who follows the provisions of the new IBC can stamp drawings to build a timber building up to 270 feet in height as of right. This is a significant change. Just over four years ago, my firm’s design for a wood high-rise called Framework was selected as one of two winners of the first U.S. Tall Wood Building Prize Competition. At that time, there was no code path in the U.S. for wood buildings over 75 feet. To receive a permit, our team of designers and engineers worked with the State of Oregon on a performance-based design process. Partly funded by the competition prize, this process included 40 tests on full-scale timber building assemblies to demonstrate their fire, seismic, structural, and acoustic performance relative to high-rise life-safety requirements. It was a fascinating, exhausting, and exhilarating experience, and we are proud that this work and research impacted the timber code changes. Thanks to the new code provisions, it is unlikely that another design team will ever have to go through this process in quite the same way again.
Early adoption of the timber code provisions isn’t just about tall buildings, though—it is a critical opportunity to encourage wider investment and innovation in sustainable mass timber development of all scales. Why should California (or any place else) care about mass timber construction? Building with engineered timber products addresses our most pressing global challenges. It has the potential to decrease carbon emissions relative to construction, spur rural economic development, encourage forest practices that prevent fires, and increase the speed at which we can deliver projects, including much-needed affordable housing. The promise of a major market like California supporting mass timber construction will be an incentive for manufacturers to invest in a more advanced supply chain, back new research, and encourage more sustainable forest management. California’s early advocacy of renewables and electric vehicles moved the market (see Tesla), and I believe it could have a similar impact on the development of mass timber.
We are currently in the permit process for one of the first multistory office buildings in Los Angeles with a cross-laminated timber (CLT) floor system. The building is essentially a hybrid, with CLT floors and steel columns and beams. It meets the current code and does not use the provisions of the 2021 IBC because the highest occupied floor is not over 75 feet. That said, it is still a 125,000-square-foot building—not a small undertaking. We have been working closely with Los Angeles authorities and our engineer to clarify and explain how the CLT performs structurally in the project and how it fits within the current code. We have made incremental steps that will allow for subsequent projects to better navigate permitting this type of building, as well as open up options for multiple CLT suppliers to serve the Los Angeles market. I believe these small steps are significant, but I know that my team could have gone further faster if California had already adopted the new timber provisions. Building officials in California are justifiably cautious. The optics of approving tall wood construction as the state faces devastating wildfires is difficult. However, moving in this direction creates a market that will advance the sustainable forest management that prevents these fires in the first place. If we are serious about addressing the major environmental issues of our time, we need California to adopt the 2021 IBC now. We are simply running out of time.
Of course, there is more to do. I believe as architects we must rethink design as a wider ecosystem of environmental and regional economic choices. Where our materials come from and how they are produced should drive and inspire our designs. This is not a limitation but an invitation to innovate with regional, renewable materials to create more compelling architecture that truly addresses both local and global issues.
Thomas Robinson is the founder and principal of LEVER Architecture.
The measure couldn’t pass all these years, according to the senate opponents, because S.B. 50 failed to adequately address the state’s growing need for affordable housing. The bill would have allowed developers to build more mid-rise apartments near mass transit and job centers in the state’s most populous cities. But community advocates for low-income areas worried that the idea would eventually out-price people from those neighborhoods, while activists in suburban areas argued against densification. Each year that Weiner introduced the bill back into the conversation, he revamped it with changes intended to address the concerns raised in previous attempts. Despite efforts to appease all sides and a move to allow local governments the chance to develop their own sets of standards similar to Senate Bill 50, the proposal failed for the final time. The L.A. Times reported a major divide in votes between lawmakers in metropolitan Los Angeles and the rest of the state. Nine local senators voted no or abstained from the vote while only one voted yes. Similar to the split in the senate, ordinary Californians appear conflicted over the bill too. Senator president pro tem Toni Atkins wrote on Twitter that although the bill failed, she will work towards producing another piece of legislation that will pass this year.
Yesterday was rough. We had a path to pass #SB50 but the votes didn’t go as anticipated, given the brass knuckle politics at play.It’s disappointing but a temporary setback. We’ll be back & fast. Because we must. Because we’re in crisis & have no choice but to take bold action — Scott Wiener (@Scott_Wiener) January 31, 2020
The majority of those presenting in this year's festival, however, are newcomers that will likely bring fresh ideas to the site. Included on the roster is Oana Stănescu, a New York-based architect and cofounder of Family, whose most notable experience includes stage designs for Kanye West and retail spaces for Virgil Abloh's clothing brand Off-White. Dutch designer Kiki Van Eijk and multidisciplinary artist Cristopher Cichocki will both bring their trademark interests in natural forms to their installations. Buenos Aires-based architecture firm Estudio Normal will likely adapt their materially-sensitive practice to the grounds, while New York- and Rome-based firm Architensions will likely create an experiential space unique to their practice’s research on social behaviors. The art installations have been an integral part of the three-day music event since 2010, when festival owner Goldenvoice Productions decided to commission art after increasing their arts budget. A wide range of artists and architects have been given the opportunity to design installations in previous years, including architects Bureau Spectacular, Francis Kéré, and Office Kovacs, as well as artists including Olalekan Jeyifous, Dedo Vabo, and Sofia Enriquez. “Building on our art program with designers, architects and visual artists from around the world and from the Coachella Valley allows festivalgoers to explore shared global interests and perspectives through the experience of ambitious and one of a kind, large-scale installations”, said Paul Clemente, art director of Coachella Valley Music and Arts Festival, in a press release. “The artists and designers invited this year are all active and respected voices in their communities at the nexus of today’s cultural conversation. Their works have rigor–challenging urgent issues and ideas while balancing the requirements of scale and function with playfulness and wonder.” All of the installations will be on display and in use during both weekends, from April 10 to 12 and April 17 to 19.
The origins and guiding principles of Portland-based Hacker Architects stem from the six years founder Thomas Hacker spent working for Louis Kahn, an architect who knew how to match dramatic siting with phenomenal material palettes. Hacker has since retired, but the firm has expanded to a staff of over 60 people and continues to treat each project as an opportunity to mix contextualism with the latest in efficiency and sustainability. The firm is known for its innovative uses of cross-laminated timber, a favorite because of the material’s quick renewability and capacity to function as a carbon sink; the firm also employs a wide range of locally sourced materials to reduce waste and incorporates passive heating and cooling methods whenever possible.
Hacker Architects’ leaders feel they are in service to the public and have become specialists in the design of libraries, museums, and other cultural institutions. The handful of private buildings they’ve designed, however, are no less representative of the firm’s dual interests in siting and materiality. Inspired by local history, natural scenery, and the imperative to reduce our carbon footprint, Hacker Architects sets examples for the industry with every project.Lakeside at Black Butte Ranch
Surrounded by the scenic Cascade mountain range and the Deschutes National Forest in Central Oregon, Lakeside adds a sprawling recreational and dining complex to the rustic-modernist resort atmosphere of Black Butte Ranch. The project used a $11.5 million budget to replace an aging pool facility with a 15,000-square-foot design that heightens the experience of transitioning from the rugged outdoor landscape to the calming resort.
Douglas fir is the primary structural component for the project, while the interior and exterior are almost entirely clad in locally sourced cedar, a material in common use in the Pacific Northwest because of how it gracefully weathers. The firm envisioned the building as an “aperture for the site,” framing views that might strengthen connections between the ranch and the vast landscape beyond.
Bayview/Linda Brooks- Burton Library
Replacing a branch library dating from 1969 in the historically underserved neighborhood of Bayview in the southeastern portion of San Francisco, the Bayview/Linda Brooks-Burton Library was completed in 2013 and designed to be an open and inviting space for the community it serves. Many of the library’s design gestures are a nod to the neighborhood’s African and African American past, including the street-level window walls adorned with illustrations of the area’s history, the kente cloth–inspired exterior paneling, and the space allotted throughout the library for works by local artist Ron Moultrie Saunders.
The firm designed the library to look inward, with a courtyard at the center large enough to host events; thanks to the floor-to-ceiling windows that surround it, the courtyard provides generous natural light and views throughout the interior spaces. The library contains several environmentally efficient features that helped it achieve LEED Gold status, including passive ventilation and air-filtration systems in the exterior walls, embedded photovoltaic arrays, and a green rooftop that filters stormwater runoff using native grasses and perennials.
When tasked with creating a permanent home for the Oregon Bach Festival, an annual event in Eugene, Oregon, that celebrates the works of Johann Sebastian Bach, Hacker Architects combined an office space with a double-height rehearsal room acoustically designed to function like the musical instruments that it contains. A wood panel system made of tongue-and-groove Accoya boards allows the tops of two of the rehearsal space’s walls to bend in a way that provides abundant natural light from above while also preventing excessive audial buildup in the lower portion of the room.
Visually distinct from the cubic rehearsal space is the office bar, a lower-slung, redbrick building designed to match the older buildings on the University of Oregon campus. Many of its windows are operable, permitting natural ventilation while reducing the demand on the building’s active heating and cooling systems.
Sunshine Canyon Residence
One of Hacker Architects’ few residential projects—as well as one of the firm’s smallest, at 2,200 square feet—the Sunshine Canyon Residence was built in the hills outside Boulder, Colorado, to replace its client’s previous home, lost in the Fourmile Canyon Fire near the site in 2010. To preserve the landscape, the majority of the house is supported by narrow steel columns that minimized the amount of construction work on the site. Given that the house is in a cold climate that receives an abundance of annual sunlight, its windows face south to maximize solar gain and reduce the need for active heating.
The materiality and formal simplicity of the home were inspired by the abandoned mine shafts, rusted steel mining structures, and naturally occurring granite bordering the site that resurfaced after the fire. The majority of the exterior is clad with corrugated steel and untreated Ipe, both of which are designed to patina over time, like the nearby mining equipment. The interior is lined with clear vertical-grain fir that recalls the trees on the site while subtly changing in shifting daylight.