There’s a new development that’s aiming to replace the Washington Monument as the tallest building in the Washington, D. C. area. A group headed by Clemente Development Company and a Saudi partner is acquiring land in northern Virginia to build a 2.8-million-square-foot mixed-use project called The View at Tysons. As part of its plans, the team has proposed a 48-story tower that would be 615 feet tall, making it 60 feet higher than the 555-foot-high Washington Monument on the National Mall. Gensler is the designer of the tower, which will contain two levels of retail space, topped by 13 floors of hotel space and luxury condominiums above that. Other elements of The View at Tysons include two rental apartment buildings, two office towers, a performing arts center and a public plaza. The land is at the intersection of Leesburg Pike and Tyco Road, near the Spring Hill Metro Station, and the team needs zoning approval before it can begin construction. When complete, the Tysons tower would be the second tallest building in Virginia, after the Westin Virginia Beach Town Center hotel in Virginia Beach.

What will happen to gas stations once drivers switch over to electric vehicles? Reebok and Gensler are trying to find out, and have teamed up for a “Get Pumped” partnership that imagines repurposing the gas stations of 2030 as community fitness hubs. First announced by Reebok, the initiative imagines a future where automobiles are all electric, and 71 million of the 260 million cars on the road are autonomously driven. Gas stations are usually centrally located and easily accessible, and Get Pumped proposes adapting them into community fitness centers. “This design work with Gensler allows us to imagine a future where there is zero barrier to entry for an opportunity to work out and be healthy,” said Austin Malleolo, head of Reebok fitness facilities. “Consumers may not need gas stations anymore, but instead of wasting them, we’re recycling them, and maximizing the space so that they become places of community.” Gensler and Reebok focused on three station typologies for adaptive reuse: The Network would transform the interstate rest stop into gyms where travelers can recharge their cars as well as their spirits. Described as the “power grid of the future” by Reebok, these charging stations would feature boxing, spinning, Crossfit, running trails and Les Mils. The Oasis model would turn the larger gas stations typically found on local highways into nutrition hubs, offering farm to table restaurants, juice bars, and yoga and meditation hubs. Outside, passerbys could visit the fresh herb garden or run on a rooftop track. The Community Center scheme proposes repurposing the local community gas stations into healthier living stations, where guests can work out, take a quick nutrition class, or shop for healthy food as their car charges. Because these stations are typically smaller but more densely clustered, each converted community center would work in tandem and form a greater network. While Get Pumped is the first step in laying out a potential framework for changing what the “gas station of the future” might look like, it’s worth remembering the challenges involved. Any gas station conversion would be precluded by an intensive amount of soil remediation, as toxic petroleum often soaks into the underlying dirt. Although this type of adaptive reuse project has certainly been done before, the feasibility of doing so on a nation-wide scale would be unprecedented, especially as more and more stations close and are simply torn down. Still, it wouldn’t be the first time that a big-name architect has tried their hand at designing filling stations.

The Los Angeles International Airport (LAX) has been on an expansion tear in recent years. Following the announcement of a rail connection from Los Angeles to the airport, an accompanying transit hub, and a super jumbo airplane-oriented concourse expansion, a $336 million contract has been awarded to build three new terminal cores for the airport’s forthcoming people mover. As part of the terminal extension plan, Los Angeles World Airports (LAWA), the body responsible for overseeing LAX and the Van Nuys Airports, gave their final approval for a $336 million funding package on January 19^th. That money will go to Dallas, Texas-based Austin Commercial Inc., who have a five-year design-build contract with LAWA to build out three new terminal cores for the Automated People Mover (APM), as well as the surrounding elevators, escalators and walkways. All three cores are shooting for LEED Silver Certification. The new Terminal Core Project will see the construction of two cores between the existing Terminals 5 and 6 and the Tom Bradley International Terminal, and one at Terminal 7. According to LAWA, the three new cores will join another four being built privately, by American Airlines for Terminals 4 and 5, Delta Air Lines for Terminals 2 and 3, and Southwest Airlines for Terminal 1. Phase one of the Terminal Core Project will begin in the second half of 2018 and involve preliminary design. Construction will begin in phase two, which is expected to run from 2019 to 2021. The $2.7-billion people mover project is just one part of the greater $5.5-billion Landside Access Modernization Program (LAMP), a modernization initiative meant to improve connectivity across the LAX. Besides pushing guests around the airport in a loop, the people mover will eventually connect with the forthcoming Crenshaw and Green lines once the $600 million Airport Metro Connector 96th Street Station is complete. The people mover is expected to run every two minutes, all day every day, for free, and eventually hit six stations around the LAX. LAX is the fourth busiest airport in the world and second in the United States, and the upgrades are long overdue. Corgan and Gensler have teamed up to design the $1.6-billion concourse expansion, which will hold an additional 12 gates and an 85,000-square-foot baggage area when it’s finished. Once LAMP is complete in 2023, the LAX should seamlessly connect with the satellite gates and the city proper through mass transit.

This is the first article in a three part series documenting the 2018 AIA Institute Honor Awards. This lists the winners of the architecture category, while additional segments contain the winners in the interior architecture and regional & urban design categories. The American Institute of Architects (AIA) has announced the 2018 winners of the AIA Institute Honor Awards. The list contains projects from all around the world, and of varying programs and uses, and honors firms both large and small. From a girls’ school in Afghanistan to a municipal salt shed, this year’s widely diverse group of winning projects will be recognized at the AIA Conference on Architecture 2018 in New York City, in late June. This year's eight member jury panel included:

• Lee Becker, FAIA (Chair), Hartman-Cox Architects
• Anne Marie Decker, FAIA, Duvall Decker Architects
• Susan Johnson, AIA, Strata; Anna Jones, Assoc. AIA, MOD Design
• Caitlin Kessler, AIAS Student Representative, University of Arizona
• Merilee Meacock, AIA, KSS Architects
• Robert Miller, FAIA, Bohlin Cywinski Jackson
• Sharon Prince, Grace Farms Foundation
• Rob Rogers, FAIA, Rogers Partners.

  Project: Audain Art Museum Architect: Patkau Architects Inc. Location: Whistler, British Columbia, Canada From the AIA Jury: A beautiful, dynamic project that literally wraps users around nature, blurring the boundaries between man-made and natural. It creates a cultural magnet to help educate not only art, but eco-friendly design. The elegant structure hovers over a floodplain topography in an area that receives a large amount of snowfall, battling the elements through an architectural form that embraces the setting. Opportunity for people to live with art. The typology of the building is a stepping stone for Canada, a new icon, and a monument for British Columbia. It has helped elevate all of us. Project: The Broad Architect: Diller Scofidio + Renfro, Associate Firm: Gensler Location: Los Angeles From the AIA Jury: Simultaneously sedate and spectacular. It fits the context of the visually exuberant arts buildings in this neighborhood. More than holding its own as a figure, it also engages and takes the user in. The dark body-like, shapely vault is a beautiful counterpoint to the bright, thick, patterned light veil. The design intention is clear and carried through at every scale. The types of space created are unusual but engaging and composed. Project: Chicago Riverwalk Architect: Ross Barney Architects and Sasaki Associates Location: Chicago From the AIA Jury: A gift to city, it embraces Chicago's layered, diverse history by providing a range of amenities that provide forward looking opportunities. Transforms the once neglected downtown riverfront into a vast public space. Design that touches everyone. Subtle moments of education and insight into the ecology of the river, educating visitors and residents. It is the reinvention of urban life that brings attention back to the waterfront. Project: Gohar Khatoon Girls' School Architect: Robert Hull, FAIA, and the University of Washington, Department of Architecture Location: Mazar-i-Sharif, Afghanistan From the AIA Jury: A beautiful and restrained aesthetic with limited means. Architecture is a modern take on Afghan history and masonry construction. This elevates respect for women and girls overall when state resources are used to this extent and design, adding an intent to create an urban oasis and promote community engagement. This space and the process communicates a new era for girls and women very powerfully. It is remarkably resourceful by integrating natural sustainability measures while operating within a weak infrastructure in the country. Project: Manhattan Districts 1/2/5 & Spring Street Salt Shed Architect: Dattner Architects in association with WXY architecture + urban design Location: New York City From the AIA Jury: The Salt storage building took what is usually an industrial construction built as economically as possible into urban art. It raises the bar significantly for civic infrastructure. Unapologetic platonic shape with beautiful skin with commitment to civic expression, environmental responsibility, and sensitivity to the urban context design solution that successfully integrates critical services into the neighborhood. The pursuit of a visual oxymoron to sanitation, and investment therein, is laudable and uplifting to an entire neighborhood and heavily used city corridor. Highly innovative. Project: Mercer Island Fire Station 92 Architect: Miller Hull Partnership Location: Mercer Island, Washington From the AIA Jury: Operations drives design and the execution is flawless. A necessary renovation turned modern reinterpretation of a traditional civic building into a simple box with layers of transparency that visually and physically connect the functions to the street. Great balance of functionality and warmth of materials make this a beautiful facility. Balanced work and relaxation are desired combo for firefighting facilities and certainly that balance is achieved here. As a public project, it is clearly a labor of love. Super judicious use of materials; great scale, sense of public awareness. Best of all this honors the incredibly hard working firefighters deserving of such a light space. Project: New United States Courthouse Architect: Skidmore, Owings & Merrill LLP Location: Los Angeles From the AIA Jury: The design's fascination with natural light and white spaces is nicely contrasted by the golden wood interior figures and floors. The building's form is a representation of site and topography, functionality, environmental performance, civic presence, and public spaces. Traditional materials and architectural elements enliven its civic presence, while modern elements introduced through the glass assembly façade create an iconic image for a 21st Century courthouse building while also providing positive environmental performance. This powerful composition and the generosity of its public spaces gives the project a clear civic presence, separating it from its commercial neighbors. Project: Vol Walker Hall & the Steven L. Anderson Design Center Architect: Marlon Blackwell Architects Location: Fayetteville, Arkansas From the AIA Jury: A complimentary and progressive pairing of modern and traditional forms. Consistent orchestration of natural light and a sparse but powerful use of red to make landmark moments in the building is invigorating. Sets the opportunity for an interesting contrast between the old and new wings. The expanded facility unites all three departments – architecture, landscape architecture, and interior design – under one roof for the first time, reinforcing the School’s identity and creating a cross-disciplinary, collaborative learning environment. The overall design is a didactic model, establishing a tangible discourse between the past and present while providing state-of-the-art-facilities for 21st century architectural and design education. Every space seems equally well resolved, simple, elegant Project: Washington Fruit & Produce Company Headquarters Architect: Graham Baba Architects Location: Yakima, Washington From the AIA Jury: This sits on the landscape beautifully and creates space for meaningful community. The oasis among the warehouses is functional, sustainable, spatial and formal. The design idea is integral and cohesive. An idea with depth. Occupied spaces are oriented towards the heart of the place - the courtyard, avoiding views towards the surrounding freeway and industrial warehouses; earth berms surrounding the building focalize views out to the landscape and blurring the boundary of architecture and site. The owners’ commitment to creating a respite from the industrial environment for their employees led to an exploration of curating views and outdoor spaces. The result is a workspace that encourages quiet contemplation, community and productivity.

Architects Gensler and Legendary Development have revealed renderings for a long-anticipated 11-story development on an existing L-shaped parking lot surrounding the A+D Museum in Downtown Los Angeles. The proposed tower will be located at 4th and Hewitt Streets in L.A.’s booming Arts District and will contain up to 255,000 square feet of office spaces, 15,000 square feet of ground floor retail uses, 11,000 square feet of common areas, and 538 parking stalls. The 8,950-square-foot A+D Museum is to remain, though it will shrink to 7,800 square feet, according to a preliminary Environmental Impact Report (EIR). Rios Clementi Hale is performing landscape architecture services for the project, Urbanize.LA reports. The renderings were first published by Curbed LA. The development, according to the renderings, is designed to approximate the Arts District’s industrial vernacular aesthetic and will feature four lower levels designed to look like surrounding late nineteenth century factory buildings. These levels come complete with divided light, factory-style windows and exposed concrete frame elements. The lower portion of the building will be topped by a seven-story glass curtain wall–clad building mass that is highlighted on various corners by bump-out volumes and inset balcony spaces. The complex will overlook the existing A+D Museum and will be accessed from a courtyard currently adjacent to the museum. The project comes as the areas around the A+D Museum and adjacent Southern California Institute of Architecture campus see an increase in office-containing projects. Several former industrial complexes—including an old Coca Cola syrup factory and a defunct Maxwell House Coffee roastery—are being adapted and expanded as developers work to meet growing demand for office space in the district. Other areas of the neighborhood are seeing a boom in residential and mixed-use development, as well. The Draft EIR indicates that the project team expects to break ground on the project in 2019, with completion scheduled for 2021.

Three finalist teams have released hotly-anticipated designs for a new tower complex at Angels Knoll, a former Los Angeles park now known as Angels Landing. The finalists were selected based on their submissions to a Request for Proposals (RFP) issued by the City of Los Angeles back in January to develop a parcel at 4th and Hill Streets, which was once home to Angels Knoll, a park that closed in 2013. The RFP asked architects to include affordable housing on the one-acre lot, which bridges the neighborhoods of the Historic Core, Civic Center, and Bunker Hill. Urbanize.LA reports that the development will also offer pedestrian access to California Plaza, the Pershing Square Metro Station, and Angels Flight, a historic railway. One design team, Angels Landing Development Partners (ALDP), is led by local developer Lowe Enterprises in collaboration with Cisneros Miramontes, Gensler, and Relm Studio. ALDP's tower design, pictured first in the gallery above, stretches to 883 feet (1.27 million square feet in all). Its building is proposed as a part of the UCLA campus. The tower would include 655 residences targeting university faculty, and it would host ample academic, office, and adaptable program space. The renderings depict an irregularly stepped tower of terra-cotta and glass with publicly-accessible terraced landscaping and green roofs on a few of the setbacks. Another team is comprised of Onni Group, a Vancouver-based developer, and Stanley Saitowitz of San Francisco–based Natoma Architects. In the renderings, two unevenly stacked steel-and-glass massings stand at respective heights of 840 and 410 feet tall. The shorter structure would include condos and a hotel, while the taller tower would include apartments, commercial space, and an elementary school. Two acres of open space are incorporated into the plan at ground level and at California Plaza. Angels Landings Partners (ALP), the final team, is a partnership between MacFarlane Partners, the Peebles Corporation, and Claridge Properties, as well as Handel Architects and Olin. ALP has also proposed two towers for the site, one at 24 stories and another at a lofty 88 stories. These structures would incorporate 400 rental units (20 of those affordable), 250 condos, and 500 hotel rooms. The buildings, with 57,000 square feet of open space, would also include extensive retail space and a charter school. If ALP's design were to move forward, the towers would become the largest minority-owned development in L.A. The city plans to select a developer for the project in November.

On October 19th and 20th,  the Facades+ conference held by The Architect’s Newspaper will head to the L.A. Hotel Downtown in Los Angeles, bringing with it a series of insightful panel discussions centered around the west coast’s most innovative buildings and projects.   The conference panels will convene design leaders representing several of the region’s boundary-pushing practices and projects. Project types under consideration will include civic buildings, social housing complexes, architectural skins, and sports stadiums. The conference’s first panel will focus on the recently-completed Los Angeles Federal Courthouse building by Skidmore, Owings & Merrill. The energy-efficient project is designed with a ruffled perimeter glass curtain wall assembly outfitted with special baffles that dramatically cut heating and cooling loads for the structure. José Luis Palacios, Design Director of SOM’s L.A. office, and Keith Boswell, technical partner at SOM, will come together in a panel to discuss how the courthouse project came together. See AN’s review of the courthouse here. Many of the region’s most successful practices are socially- and culturally-driven, a dynamic that has resulted in a growing number of design-forward social housing projects across the region. Local efforts to address California’s homelessness crisis are spearheaded by the Los Angeles-based Skid Row Housing Trust, a non-profit supportive housing developer that focuses on design quality as an integral component of the re-housing process. The organization is helmed by executive director Mike Alvidrez, who will come together for a panel with architects Angela Brooks of Los Angeles-based Brooks + Scarpa and Nathan Bishop of Santa Monica-based Koning Eizenberg Architects to discuss attractive residential and community spaces that challenge the perception of supportive housing in L.A. AN recently reviewed Brooks + Scarpa’s The Six, a 56-unit supportive housing project developed by SRHT. The region is also home to a critical mass of young, digitally-driven design and architecture practices that are utilizing computer generated forms to push the limits of fabrication and construction. A third panel will bring together Doris Sung, principal of DOSU Studio Architecture, Alvin Huang, founder of Synthesis Design + Architecture (SDA), and Satoru Sugihara, principal of ATLV, to discuss the relationship between architectural research and highly-specific skin assemblies. SDA recently completed work on the IBM Watson Experience Center in San Francisco, a project that utilized a CNC-milled aluminum panel system manufactured by Arktura to depict an abstracted "data narrative." The conference’s final panel will showcase California’s growing collection of contemporary sporting facilities, many of which are wrapped with provocative enclosures made from building components that highlight some of the advances in building envelope design and construction. The conversation will bring together Ron Turner, sports practice area leader and principal at Gensler, Sanjeev Tankha, principal at engineering firm Walter P Moore, and Lance Evans, senior designer at HKS, to discuss HKS’s City of Champions development for the Los Angeles Rams and Gensler’s Banc of California Stadium for the Los Angeles Football Club, among other projects. For more information on Facades+, see the conference website.

Gensler released the plans for its renovation and restoration of the famed Graham, Anderson, Probst & White Post Office in Chicago. The 1932 structure, out of commission since 1997, will be used for office space, retail space, a conference center, tenant amenities, a food hall, a roof deck, parking, and a river-facing lawn. Renovations will cost over $600 million to overhaul the building that, at 2.5 million square feet, can hold an impressive 2,000 people per floor. It is currently the largest redevelopment in the United States. Officially dubbed “The Post Office,” the project features a spiffy new logo that evokes wings in flight, a motif that appears throughout the initial renderings as light fixtures and design elements. While certain original features are restored, such as the postmaster’s office, lobby, mail chutes and scales (the building was placed on the National Register of Historic Places in 2001), interiors are pointedly geared toward millennials (lest you think this is too presumptuous, the fitness center is depicted with the slogan, “Sweat is just fat crying.”). Throughout the space, exposed ceilings are juxtaposed with warm wood, cozy leather, and midcentury modern furnishings, with large expanses of glass revealing views of Chicago and that iconic limestone facade. The exterior is largely untouched, albeit with a four-acre roof deck on top that will hold an impressive amount of amenities, including park space, cafes, a quarter-mile running trail, and sports courts. “We fully recognize the historical significance of this building,” Brian Whiting, president of the Telos Group, which will oversee parts of the project, said in a statement. “When the Post Office was built, Chicago was the center of catalog retail sales and the building was designed to handle fulfillment for the largest operators, including Sears, Roebuck & Company and Montgomery Ward. Fittingly, The Post Office will once again serve to promote the commerce industry, including the e-commerce companies that have replaced catalog houses, but this time with cutting-edge office space.” According to the project's representation, The Post Office's anticipated new tenants have already spurred the development of nearby residential projects in anticipation of the new-old hub roaring back to life.

Steinberg Architects, Gensler, and developer Shenzhen Hazens Real Estate Group have released a new batch of renderings depicting a slew of design changes for their $700 million L.A. City Center project, a two-tower luxury development planned for Downtown Los Angeles that was recently approved by L.A.’s City Planning Commission. The new renderings depict the latest iteration of a continually-changing project that has morphed from a three-tower complex into one containing only two spires. Previous schemes showed a collection of 32-, 34-, and 38-story towers clustered over an eight-story parking podium. The new images depict a pair of towers, one 29 stories tall, the other rising 49 floors. The 29-story tower, which sits on the southern corner of the site, will contain a 300-key hotel operated by W Hotels and will be designed by Gensler. The 49-story edifice, designed by Steinberg, will contain 435 condominium units. The scheme has also jettisoned the parking podium connecting the towers. Parking will now be located underground and a shorter podium structure filled with hotel public amenities, commercial spaces, and a hotel spa will ground the towers instead. Like several other developments in the quickly-changing area, the L.A. City Center’s base will be wrapped with massive LED displays. Both towers have grown significantly more conservative in their massing and articulation throughout the design review process. Gone are the towers’ soaring pitched roofs, angled articulated massing, and vertically-oriented patterning. Instead, the towers now feature minimally-broken curtain wall facades, vertically-oriented setbacks, and expressed floorplates. AHBE Landscape Architects is designing the project’s open spaces along the parking podium and at street level, as well as each of the tower’s rooftop amenity deck areas. The complex will contain 5,000 square feet of retail functions along the ground level organized along a public shopping plaza fronting Figueroa Street. When compared with previous iterations of the project, the plaza space appears to have been enlarged and deepened, with less LED screen coverage than previously designed. The plaza’s central area will be dotted with trees that extend along the sidewalk in paired sets. According to Urbanize.LA, the first phase of the multi-phase project will construct the hotel tower, with the residential component following after an existing hotel structure on the site is cleared. The complex will add to the ever-growing set of construction cranes in the area. Construction crews are currently wrapping up work on the Harley Ellis Devereaux-designed Circa Towers located nearby and partway through construction on the Oceanwide Center complex by Gensler. A final timeline for the L.A. City Center project has not been announced.

COOKFOX, Olson Kundig, Gensler, Kohn Pederson Fox Associates (KPF), and Morris Adjmi Architects, have all been named as some of the nine architects spearheading Water Street Tampa, the $3 billion project that will give the Florida city a skyline. Spread over nearly 50 acres, 18 buildings comprise the scheme which is being backed by Strategic Property Partners—a consortium between Jeff Vinik, who owns NHL’s Tampa Bay Lightning, and Bill Gates’s Cascade Investment. Though first announced in early July this year, more details, such as the architects involved, have been released. Four New York firms are in on the act. COOKFOX will be designing two buildings: an office and a residential block which will sit atop some retail. KPF has been commissioned for a series of apartments and condominiums which will reside above some retail and a grocery store. Morris Adjmi Architects has scooped arguably the largest commission: a 157-key five-star hotel, a range of luxury condos, more apartments, and retail. Gensler, meanwhile, will be behind two office over retail projects. Seattle firm Olson Kundig is also doing a similar project and Baker Barrios, from Orlando, are to design a central cooling facility. Greenery is coming via Tampa-based Alfonso Architects, who are fronting the redevelopment vision for the city's Channelside with a new public park, waterfront shops, and living units. Another Flordian firm, Nichols Brosch Wurst Wolfe & Associates from Coral Gables, are designing a 500-key hotel. Finally, New Haven, Connecticut practice Pickard Chilton are behind three projects that will office and residential over retail. When finished, Water Street Tampa will boast more than two million square feet of offices. In doing so, the scheme will bring the first new office towers Downtown Tampa has seen in almost 25 years. Located on the Garrison Channel and Hillsborough Bay, the project, according to a press release, intends to bridge the city's cultural landmarks, including the Tampa Convention Center, Amalie Arena (where the Tampa Bay Lightning play), Tampa Bay History Center, and Florida Aquarium. This will be achieved via an array of public parks and spaces that lead to the waterfront where the Tampa Riverwalk, and five-mile-long Bayshore path, can be found.

Los Angeles–based Synthesis Design + Architecture (SDA) recently completed work on a 1,100-square-foot sheath for the IBM Watson Experience Center immersion room in San Francisco. The interpretive wrapper—fabricated by Arktura in Los Angeles and executed in conjunction with an overall interior design by Gensler’s San Francisco office—is designed to express data visualizations generated by IBM Watson’s computing powers while also concealing the 350-square-foot sales space from view.

For the project, the design team interpreted and translated data maps depicting the volume of digital sales on mobile devices between 2013 and 2015 in order to derive an expressive moiré-patterned cocoon made out of dual-layered, curvilinear CNC-milled aluminum plates. The plates, backed by bright white lights, can be read by Watson Center docents in order to express a so-called “data narrative” in which Big Data—data sets so complex or vast that conventional data processing can’t process them—plays the titular role charting the growing influence of mobile-based sales.

Describing the project, Alvin Huang, principal at SDA, said, “The kinetic moiré effect that is produced as visitors move around the immersion room breathes some life into the static pattern, which speaks to the fact that data is live and constantly changing—even though the installation itself is static.” IBM Watson Experience Center 505 Howard Street San Francisco Tel: (800) 426-4968 Architects: Synthesis Design + Architecture; Gensler