According to a new environmental review document, Los Angeles International Airport (LAX) is poised for a large expansion that could add up to two new terminals and nearly two dozen new gates to help handle the influx of travelers headed to the city for the 2028 Olympic Games. Urbanize.LA reported that the plans call for attaching the new Concourse 0 terminal and its 11 passenger gates to the east of the existing Terminal 1 structure along the northern end of the LAX complex. A second new terminal, Terminal 9, will bring 12 new gates to the southern end of the airport, where it will be met by an extended run of a forthcoming automated people mover (APM) that is currently under construction. The Los Angeles Times reported that the expansion plans include reconfiguring existing airplane runways, including on the northern end of the airport, where earlier plans to retool runway facilities produced outcry from neighboring communities concerned about noise, pollution, and other negative impacts. The proposed runway changes involve reconfiguring the airport’s road network while maintaining the current distance from those communities. The plans come as Los Angeles World Airports, the entity that runs LAX, works to complete a $14 billion facilities upgrade plan for the airport’s existing roads, terminals, and associated transportation facilities. That plan includes a $1.6 billion Gensler and Corgan–designed terminal that will bring 12 new gates to a mid-field site capable of handling new “super-jumbo” airplanes for long-haul international flights. The project, known as the Midfield Satellite Concourse (MSC) will connect to the existing and recently-expanded Tom Bradley International Terminal via a pair of underground tunnels that will feature moving sidewalks. Along with the APM, L.A.’s transit authority is also at work adding a new light rail station to the airport that will link LAX with the county’s regional transit network. The station is set to open in 2022 and will eventually make the airport accessible via two light rail transit routes, the Crenshaw and Green Lines. Those elements, in turn, will be joined by new consolidated parking, rideshare, and taxi facilities. The preliminary environmental document for the latest round of additions only provides a general timeline for completion that is subject to further review. The plan envisions the improvements being made by 2028.
Posts tagged with "Gensler":
Ever since it was finished in 1967, the most notable feature of Kevin Roche and John Dinkeloo’s Ford Foundation Building has been what is not there. At the center of the building is a 12-story, 160-foot-high void occupied by a multitiered interior garden, dense with trees, flowering bushes, and lacy ferns. The original design of the garden—by the late master landscape architect Dan Kiley—frankly never flourished, but it is now in full bloom. “For Dan, his garden was a big experiment,” said Raymond Jungles, the Coconut Grove, Florida–based landscape architect responsible for re-creating Kiley’s vision while also planting his own professional roots in the redesign. When the building reopened in March after a major two-year interior restructuring and updating, Jungles’s garden was ready for the building’s occupants—as well as the public—to wander. “I’m a designer, I have an ego, but this project wasn’t about what Raymond Jungles was doing for the space, but, rather, my desire to find Dan Kiley’s original spirit for this space,” added Jungles. “I want people to enjoy the amazing garden Dan had designed for everybody—those who work in the building, and those who pass by and come inside.” According to Guy Champin, Jungles’s project manager for the new garden, “The architecture of the building is all about its two transparent facades,” referring to the walls of windows on both the 42nd and 43rd Street sides. To preserve and indeed enhance that visual effect, Champin and Jungles have established a tree canopy using some 35 Shady Lady black olives, Jacarandas, Ficus Amstel King, and other varieties that allow visitors to see through the space, while remaining aware of a beckoning urban forest unlike any other vista in Manhattan. Rectilinear brick pathways course across the space, half of which are wheelchair-accessible. While the hardscape remains largely untouched, given the landmark status of the building, Jungles’s firm has made conspicuous visual and aural changes. In keeping with the Ford Foundation’s new branding as a decidedly all-embracing forum for “social justice,” the firm was commissioned to establish a touch and smell garden where hearing and visually impaired visitors can experience the plantings. Elsewhere, Kiley’s extant rectangular pool has now been subtly fitted with a sound element. “Water, to me, is the heart and soul of any garden,” said Jungles, “and we’ve created the sound of moving water with pumps.” And in an effort to increase the reflective qualities of the shallow body, Jungles and Champin added black dye to the water. “Normally, dye is put in to reduce the growth of algae,” Jungles pointed out, “but here it was done to create a reflective mirror. The garden space is not just about that space, but also about the buildings across the street. One of the principals of landscape architecture is to see what you can borrow and introduce from the surrounding neighborhood.” Although the 10,000 square feet of space devoted to greenery is now abloom with plant life, the process of making the landscape introduced other, subtler elements as well. All of the trees that are now taking root in soil and in planters were grown in Florida and shipped to New York. But according to Dinu Iovan, senior project manager for Henegan Construction, the contractors for the garden installation, those trees came with other forms of life, namely, anoles, small green lizards typical of subtropical regions. “They’re everywhere in here now,” said Iovan, “which is a fun, accidental, extra element. There’s even a bat somewhere in one of these trees.” By day or night, the garden beckons passersby. Grow lights illuminate the courtyard when it is dark outside and, month by month, new colorful blossoms are set to visually animate the space. Acknowledging the difficulties of sustaining a garden in a dry interior space with limited natural sunlight, Champin likened the newly grown—and still growing—space to a beacon. “It calls to you like it’s a lighthouse in the middle of the city,” he said, “glowing with life.” Architect: Gensler General Contractor: Henegan Construction MEP: JB&B Structural: Thornton Tomasetti Lighting: FMS (Fisher Marantz Stone) Irrigation: Northern Designs Soils: James Urban Landscape: Siteworks AV/IT/Security: Cerami & Associates Preservation Consultant: Higgins Quasebarth & Partners LLC Landscape Contractor: Alpine Construction & Landscaping Corp. Plant Supplier: Signature Tree & Palms
Brought to you with support fromOn April 4 and 5, Facades+ is returning to New York for the eighth year in a row. Organized by The Architect's Newspaper, the New York conference brings together leading AEC practitioners for a robust full-day symposium with a second day of intensive workshops led by manufacturers, architects, and engineers. Doriana and Massimiliano Fuksas, and Toshiko Mori are respectively leading the morning and afternoon keynote addresses for the symposium. In between the keynote addresses, representatives from Renzo Piano Building Workshop, Permasteelisa, Cooper Union, Gensler, Heintges, Atelier 10, Transsolar, Walter P. Moore, Schüco, Frener & Reifer, and Behnisch Architekten, will be on hand to discuss recently completed innovative projects. New York-and-Frankfurt based practice 1100 Architect is co-chairing the conference. In anticipation of the conference, 1100 Architect's Juergen Riehm sat down with AN to discuss the firm's ongoing work, the conference's program, and trends reshaping New York City's built environment. The Architect's Newspaper: It is safe to say that New York City is undergoing a tremendous period of growth. What do you perceive to be the most exciting trends within the city? Juergen Riehm: You’re right; New York City is undergoing big change and growth. I would say that one of the big drivers of that change—and one of the exciting trends—is the investment in the city’s public spaces. There has been such transformation along the waterfronts and in parks across all five boroughs, and that has really catalyzed growth. We have worked with several city agencies for many years and in different ways, including with the Department of Parks & Recreation, which has been an exciting partnership, contributing to these changes. One of the projects we currently have in design for NYC Parks is a new community center in East Flatbush, Brooklyn. There, we are designing a 33,000-square-foot community center. The facade will perform in a number of ways. Since it is a community center, we want it to be as open and transparent as possible, and it also needs to be robust and durable. The building is on track to meet the city’s new sustainability standards LL31/32 and LEED Gold. There has been so much attention on new large-scale developments like Hudson Yards or the supertall towers in Midtown, but one of the other exciting trends right now is the renewed attention on optimizing the performance of existing buildings. It is something we will address during Facades+ NYC, but there is great work happening now on restorations of historic buildings—at the Ford Foundation or the United Nations, for example—that not only addresses decades of wear and tear, but that also brings these structures up to full 21st-century performance standards. AN: 1100 Architect is based in both New York and Frankfurt. What are the greatest benefits of operating a trans-Atlantic practice? JR: Our practice has always been deeply rooted in New York—just as it has also always had an international footprint. From our earliest days, we delivered projects overseas, so it seems like part of 1100 Architect’s DNA to have an ongoing dialogue with other geographies. We launched our Frankfurt office about 15 years ago, and, as you suggest, it does bring benefits. In general, we find that it has a reciprocal sharpening effect, with each location informing the other with different materials, technologies, and delivery methods. AN: Which projects are 1100 Architect currently working on, or recently completed, that demonstrate the firm's longstanding demonstration of sustainable enclosures? JR: Well, the NYC Parks community center in East Flatbush is a good example. It’s an exciting project in many ways—including the fact that we are designing it to the City’s new LL31/32 sustainability standards. In every way, we are really pushing for optimal performance, and the high-performance envelope plays an integral role toward that end. We were recently awarded a contract with the U.S. Department of State, so we are poised to begin working on diplomatic facilities around the world, so the safety and security of facade systems will be a paramount consideration. In Germany, we are renovating a 19,000-seat soccer stadium and adding a new training facility, using an innovative and high-performance channel-glass facade. We recently completed a Passive House–certified kindergarten there, too, which involved a high-performance facade. AN: Are there any techniques and materials used in Germany or the EU that should be adopted in the United States? JR: In Germany, I find that there is a more closely integrated relationship between government, the building industry, and the architectural profession. With environmental standards, for example, the goals set by the government are quite ambitious, and it has resulted in a closely integrated process of meeting those goals. In this moment of deregulation in the U.S., it seems like a good time to consider the value of the government’s role in moving toward energy efficiency. AN: Where do you see the industry heading in the coming years? JR: By necessity, I see it moving toward higher standards of energy performance. Climate science is calling for it and the marketplace is increasingly looking for it, so the architecture and building industry will need to deliver. And as I mentioned at the start of this conversation, I also think there will be a lot of focus on updating existing buildings to enhance performance. Further information regarding the conference can be found here.
Bjarke Ingels has gone back to the drawing board and released a revised version of the Oakland Athletics’ potential new home stadium. The new renderings come three weeks after plans surfaced for an aerial gondola that would link the waterfront ballpark at Howard Terminal to the larger Bay Area Rapid Transit (BART) system. Bjarke Ingels Group (BIG) is working with executive architect Gensler and landscape architect James Corner Field Operations for the site’s green spaces. Rather than a walled-off compound, BIG has envisioned a public-facing, mixed-use “ballpark district” in the vein of Boston’s Fenway Center, or Colorado’s Coors Field–adjacent West Lot. The scheme is projected to bring housing, a business campus, retail, and recreational areas to the waterfront site. The original scheme that BIG unveiled for the stadium last November was centered around a square ballpark topped with an occupiable green “ring” roof. Triangular housing clusters reminiscent of the firm’s Via 57 West would have been positioned at the stadium’s corners, and, judging from the renderings, a playground would have been located en route to the ballpark’s entrance. The diamond-shaped plan received mixed reviews from the public and elected officials. In an open letter sent out Monday, the A’s president Dave Kaval laid out the benefits of the new, softer scheme. Namely, BIG has opened up views of the nearby waterfront while creating a “softer” approach to the stadium. The surrounding towers, some of them up to 20 stories tall, have been reconfigured into more of a “stadium seating” arrangement and would slope down to face both the ballpark and the adjacent waterfront. Though the shape has changed, the airy, striated facade of the 34,000-seat stadium will remain. As part of the A’s initiative to build on the site, the team has partnered with the West Oakland Environmental Indicators Project, a local environmental justice group, and will be presenting the West Oakland Environmental Justice bill to the state legislature. Howard Terminal, the location of the potential stadium, is currently a brownfield site with an industrial past, and soil and groundwater remediation will need to be completed before the A’s can break ground. The team is aiming to begin construction in 2021 and open the park by 2024 but is still working to purchase the site from Alameda County and the city of Oakland.
The San Diego Architectural Foundation (SDAF) has announced the lineup for its annual Open House San Diego (OHSD), an architecture and urban design extravaganza scheduled to take place March 23 and 24. The free festival will open up over 100 architecturally-significant locations across San Diego for building and history enthusiasts to explore. The list of buildings includes some of the city’s newest architectural works as well as several of its most historic sites, including Balboa Park, Barrio Logan, and some in the city’s bustling downtown area. This year, the event will spread to the northern suburb of La Jolla, home to the Museum of Contemporary Art San Diego and many historic works by Irving Gill, among others. In a press release, OHSD founder Susanne Friestedt said, “We expect thousands of San Diegans and out of town visitors, including families and architecture and design students interested in learning about the design, history, and development of our city.” She added, “Last year, more than 7,500 visits were tallied at 83 sites. This year we anticipate at least 10,000 site visit visits. 350 trained volunteers will be on hand to assist visitors.” One highlight in the lineup includes the recently-completed Block D Makers Quarter, a six-story creative office hub designed by BNIM that strives for high-impact sustainability. The LEED Platinum and net-zero structure is wrapped in louvered shades and will anchor a new creative quarter in downtown San Diego. Miller Hull’s The Wharf at Point Loma, America’s Cup Harbor project, a finger-like arrangement of shops and public spaces, will also open to the public. With the structure, the architects have brought a commercial and social node to San Diego’s waterfront area. Other sites include the Salk Institute by Louis Kahn in La Jolla, the Atmosphere apartments in Downtown San Diego designed by Joseph Wong Design Associates, and the Jacobs Music Center designed by Gensler. See the OHSD website for more information and a full list of participating sites.
The ground floor of New York's sprawling $250 million Saks Fifth Avenue flagship renovation is complete, and OMA and Rem Koolhaas have designed a splashy, technicolored centerpiece for the midtown Manhattan shop. The luxury department store has embarked on an ambitious reorganization ahead of competitors moving into New York City; as Bloomberg notes, both Nordstrom and Neiman Marcus are opening their first N.Y.C. locations in 2019. Saks Fifth Avenue’s new ground floor is all about handbags. The previous first-floor tenants, the beauty and fine jewelry departments, have been moved upstairs. The Saks Store Planning and Design team and Gensler collaborated on the 53,000-square-foot first floor, installing custom terrazzo flooring from Italy, “experiential” handbag displays with appropriate signage, and wide, runway-inspired aisles. The centerpiece of the new handbag department is the escalator, which changes color as shoppers ride between the lower and main floors, and up to the beauty department on the second floor. UUfie, one of the Architectural League's 2019 Emerging Voices, also used a dichroic effect for a department store escalator, in that case Paris's Printemps Haussmann Verticalé. The second and third phases of the Saks renovation—the “vault,” which will showcase high-end jewelry, and the new menswear section—are both expected to open later this year.
The Diller Scofidio + Renfro (DS+R) and Gensler–led expansion of Manhattan’s Museum of Modern Art (MoMA) is inching closer to completion, and the institution today revealed a suite of new programming that will begin later this year. That is, when it reopens; the museum also announced that it will be shutting down from June 15 through October 21. With 40,000 square feet of new gallery space incoming, the MoMA is hoping to shed its staid institutional status and get back to its experimental roots. A new 53rd Street entrance is on the way, as are ground-floor galleries that will be open to the public, which the museum hopes will more fluidly connect the museum to the street. The westward expansion is building out through the site of the demolished American Folk Art Museum and into the base of the Jean Nouvel–designed condo tower at 53 West 53rd Street. With the expansion comes a reorganization of how MoMA will display its collection; the museum is moving towards a system of modular, rotating galleries with thematic, not material-based, exhibitions. Photography, painting, drawings, and other media will be shown alongside each other The second, fourth, and fifth-floor galleries will still be arranged chronologically but will expand the museum’s Eurocentric focus to include modernist works from all over the world. Beginning on the fifth floor, patrons will find an early history of modernism, followed by mid-twentieth century work on the fourth, and contemporary art on the second floor and beyond. The MoMA is aiming to rotate the gallery spaces on these floors every six-to-nine months. Choreography, performance art, film, and sound works won’t be left in the cold either. The new Marie-Josée and Henry Kravis Studio, a double-height performance space, will open up to both the fourth and fifth floors. Stuart Comer, chief curator of the Department of Media and Performance, has promised that both established and emerging artists will be able to present “collection-responsive programming” therein. On the second floor, the Paula and James Crown Platform will present an experimental place for visitors to collaborate and engage with artists, as well as each other. The museum will offer both in-house and partnered educational experiences daily. When MoMA reopens in October, all of the opening exhibitions will draw from the museum’s existing collection to showcase the diversity of its holdings. According to Glenn Lowry, director of MoMA, the expansion will allow the museum to grow from showing approximately 1,400 or 1,500 pieces at a time to around 2,400. To cope with the constantly changing programming, the museum has promised that it will keep its website up-to-date on what will be on display when and where. MoMA PS1 in Long Island City, Queens, and the Modern will remain open during the summer hiatus. How can the museum cope with four months of lost revenue? A $200 million gift from the estate of David Rockefeller was announced this morning. In recognition of the pledge, the museum’s Board of Trustees has voted to renamed MoMA’s directorship position the “David Rockefeller Director of the Museum of Modern Art.”
Move over 432 Park Avenue. In conversation with the New York Times, prolific developer Harry Macklowe revealed that he had filed a preliminary application with the NYC Department of City Planning for a supertall skyscraper in East Midtown that would reach 1,551 feet. That would make it the second-tallest in the city and the hemisphere after One World Trade, which reaches 1,776 feet. Tower Fifth, set to rise directly across the street from St. Patrick’s Cathedral on Fifth Avenue between East 51st and 52nd Streets, is, as the Times notes, likely to be Macklowe’s last great building. He has plenty of projects under his belt. The 82-year-old developer was behind the rise of 432 Park Avenue—the city’s current second tallest building at 1,396-feet-tall—the glassy Apple Store cube on 5th Avenue, and the renovation of the General Motors Building directly behind it, but Tower Fifth will require a slew of special permits, zoning permissions, and permission from the Landmarks Preservation Commission. The tower, if built as proposed, would be 66 percent larger than the zoning for the neighborhood would permit. The 96-story office tower, a joint effort between Gensler and local firm Adamson Associates Architects, is facing complicated siting conditions and is currently planned to cantilever over two separate landmarked buildings. According to the Times, Tower Fifth would hang 100 feet above the modernist Look Building at the corner of Madison Avenue, and 300 feet above the John Pierce House. An 85-foot-tall, marble-clad glass lobby would frame views of St. Patrick’s, while the tower proper would step back from the base and only begin to rise 400 feet above the ground. The Times notes that the tower will rise on two shafts or stilts. The massing of the tower seems similar to that of the rectangular 432 Park Ave., until reaching the top, where Tower Fifth will displace and cantilever its floor slabs, a move similar to Herzog & de Meuron’s 56 Leonard downtown. Macklowe also revealed a slew of amenities and promised that the tower's perforated facade would be extremely energy efficient. The city’s tallest observation deck (Tower Fifth’s roof would rise above that of the 1,776-foot-tall Freedom Tower), a 60-foot-long corkscrew slide, multi-floor running track, and a glass-faced public auditorium that would sit above the lobby and look out over St. Patrick’s Cathedral have all been proposed. If Macklowe is serious about assembling the development rights necessary for Tower Fifth to reach 1,551 feet, the Times notes that he still needs to buy 580,000 square feet of air rights. While St. Patrick’s Cathedral has been looking to sell its unused development rights to fundraise for its maintenance, it remains to be seen if the owners of the Look Building and John Pierce House will be amenable.
Google will be moving to the building currently known as the Westside Pavilion shopping mall in West Los Angeles. Last week Hudson Pacific Properties and Santa Monica, California–based real estate investment company Macerich announced that the tech company would move into One Westside, as the property is known, after a substantial renovation. Gensler was tapped to convert the mall into 584,000 square foot of state-of-the-art office space, and the redesigned structure will include terraces, flexible interior layouts, and folding glass walls to connect the inside to out. This is not Google's first site in the Los Angeles area. The company recently moved into a large timber warehouse in Playa Vista and maintains branches in Venice and Irvine. Gensler has plenty of experience in this arena, having done numerous office spaces for tech companies, including a home for NVIDIA in Santa Clara, California, that won a 2018 Best of Design Award. One Westside has a prime location thanks to Los Angeles's ever-expanding public transit network, with the Expo Line light rail’s Westwood/Rancho Park station a five-minute walk away. The renovation is scheduled to be finished in 2022 when Google will begin a 14-year lease.
Upon stepping inside the new, light-filled Ford Foundation for Social Justice, you’d never know the crisp and clean, 415,000-square-foot building felt darker and smaller just four years ago. The landmark headquarters of the formerly-named Ford Foundation was designed by Kevin Roche John Dinkeloo and Associates in 1967 and has long been considered one of New York’s greatest architectural treasures. Its 12-story, corten steel structure featuring textured granite walls and floor-to-ceiling glass windows were emblematic of groundbreaking mid-century modern design, but in recent years the prized building has fallen behind the times. This month, Gensler’s New York office completed an extensive renovation effort to redesign and rebrand the organization’s Midtown East facility as a sustainable hub for social justice–oriented groups to commune and collaborate. The 51-year-old building was reconstructed in compliance with updated city safety codes with an increased attention to energy efficiency and accessibility. Where rays of daylight used to only trickle into the structure’s iconic, glass-clad atrium, they now sweep through the office areas and out the other side of the building. It’s arguably one of the sunniest spaces in the neighborhood and now boasts near-complete transparency. “People used to walk by here and have no idea what was going on inside,” said Darren Walker, the Foundation’s current president. “It sat here like a mammoth, making a statement of discretion and tranquility. But now, while you can see so much of the original vocabulary of the building in things like its 6-foot planning grid and innovative use of brass, it’s much more transparent and energetic.” Central to Gensler’s revamp was expanding the amount of public and meeting spaces for outside organizations from 53,600 square feet to a whopping 81,000 square feet. With more room to host global groups committed to human equity and achievement, the Foundation aims to bolster its outreach efforts while also promoting its own themes of transparency, fairness, and dignity through an inviting design. Gensler also added extra lifts, subtle wheelchair ramps, gender-inclusive signage, and updated workplace furniture to meet ADA standards—all in order to encourage diversity within the Foundation’s four walls. This idea of displaying human value through design also translates to the new open office plan that nurtures collaboration and gives employees access to coveted daylight and ample views of the lush Dan Kiley–designed garden atrium. Jungles Studio, in collaboration with SiteWorks, rehabilitated the space to align with Kiley’s simple original vision. To combat years of overgrowth and erosion, they deepened the tree holes, improved irrigation, and restored the garden’s reflecting pool as well as the brick pavers throughout. This indoor greenhouse is visible from the workspace above now that the closed-door private offices that once lined the atrium walls have been opened up as laneways on each floor. Ed Wood, design director and principal at Gensler, said the overall design intent for the project was to create a feeling of the “new, but familiar.” Perhaps the most impressive part of the Foundation’s renovation signifies just that. During the project, over 1,500 pieces of furniture were meticulously restored while over half of the original Warren Platner–designed wood pieces were refinished to match their original stain. Each legacy lighting fixture, bronze accent, leather-laid item, piece of millwork, as well as the carpet and wood flooring was either refurbished or reimagined using extremely similar materials or pieces salvaged from the Foundation’s storage. The updated interior successfully transports visitors back to a time when Mad Men era-design dominated New York’s office towers without making it look cheesy and out of date. It’s actually refreshing. When the Ford Foundation first opened, it was a design marvel and a nod to the Foundation’s claim to be the wealthiest organization of its kind in the world. With this update, Gensler brought the building back to life and advanced its architectural status by not only making it a prime example of a 21st-century renovation project but by intelligently piecing back together all the iconic elements that made the interior so irresistible decades ago. The public spaces inside the Ford Foundation for Social Justice will officially open to the public in January. Its grantees and affiliate organizations will be welcomed into the new convening spaces starting then as well. The project is pursuing LEED Platinum certification. In addition to the staff, the building permanently houses Philanthropy New York, the United Nations Foundation, and the Nonprofit Coordinating Committee of New York.
2018 Best of Design Award for Commercial — Office: NVIDIA Headquarters Designer: Gensler Location: Santa Clara, California It’s no secret that innovation drives the technology industry. What is perhaps overlooked is how much the serendipitous collision of unlikely ideas, forged through collaboration, also plays an important role. The difficulty comes when companies grow and their employees are divided into siloed working quarters. In the brief for a new, 250,000-square-foot headquarters, the CEO of software giant NVIDIA asked: “How can we get 2,500 people to collaborate?” Gensler responded by designing a self-contained, mono-functional building that was inspired by how people move around. The building’s angular roof creates large, vaulted public areas, but also private spaces for concentration. Over-size platforms replace the need for staircases, acting as vertical connectors that can facilitate impromptu interactions. Honorable Mention Project Name: C3 Designer: Gensler Dichroic Glass Art Facade: Designed by Refik Anadol Studio. Fabricated by Arktura Location: Culver City, California
Brought to you with support fromOver the last three decades, Seattle has experienced explosive population and economic growth, that has fundamentally reshaped the city’s architectural makeup as well as its AEC community’s relationship to national and international trends. On December 7, Facades+ Seattle will bring together local practitioners in an in-depth conversation around recent projects and innovative facade materials and design. Consider architecture and design practice Olson Kundig. Founded in 1966, the firm has established an international reputation for blending high-performance enclosure systems with the craftsmanship of local artists and artisans. Principal Blair Payson will serve as co-chair for the conference, with other principals of the practice moderating the three panels.
Kirkland Museum in Denver, which features an array of glazed terracotta baguettes produced by NBK Terracotta arranged in a unique alternating pattern, and amber-colored glass inserts produced by small-scale manufacturer John Lewis Glass Studio based out of Oakland, California. The firm collaborated with local sculptor Bob Vangold to embed a sculptural form within the facade. To achieve this effect, the sculpture is anchored along the horizontal roof edge with a series of base plates. On a larger scale, the Olson Kundig-led renovation of Seattle’s Space Needle recently wrapped up after 11 months of sky-high construction. The project entailed the removal of decades of haphazardly designed additions in favor of an open-air viewing area. Working with facade consultants Front Inc., the design team converted floors within the top of the Space Needle to transparent glass panels providing revolving views on the city below, and wrapped the observation deck with 11-by-7-foot, 2.5-inch-thick glass panels produced by Thiele Glas and installed by a team of robots designed by Breedt Production. Just south of Seattle’s Space Needle, the trio of Amazon Spheres consists of approximately 2,500 glass panels suspended over a complex steel truss system. Collaborating with NBBJ Architects, Front Inc. led exhaustive case studies, with the help of custom-built software tools, to develop a glass tiling scheme matching visibility requirements for occupants and light exposure for the greenhouse within. Following the creation of multiple digital models, Front Inc. led the fabrication of full-scale mockups of the design to test the computer-generated models. Representatives of these two firms, as well as Gensler, Katerra, Werner Sobek, Thornton Tomasetti, and Eckersley O'Callaghan, will be on hand to dive deeper into the architectural resources and trends present in both Seattle and the rest of the country. Further information regarding Facades+AM Seattle may be found here.One such project is the recently completed