Posts tagged with "Gensler":
Over the last few years, the areas around L.A. Live and the nearby Los Angeles Convention Center in Downtown Los Angeles’s South Park neighborhood have been undergoing a development boom, with mid- to high-end condominium and apartment complexes sprouting up at a steady clip. However, a new crop of projects currently either under construction or in the entitlement stages of development—dubbed Metropolis, 1020 Figueroa, Circa, and Oceanwide Plaza by developers—signal an infusion of upscale amenities headed for the area, all connected to the financial core and the rest of the city by a growing transit system, including the Long Beach–bound Blue Line and Santa Monica–bound Expo Line.
Three of the four projects mentioned above—1020 Figueroa, Circa, and Oceanwide Plaza—are to be located on the blocks directly across the street from the StaplesCenter, with the Metropolis development located a block northwest. Through their sheer density and size, they will bring a sorely missing street culture to an area that is roaring back to life.
But what will greet those pedestrians when they step off the trains and onto the streets? Walls of LED screens.
That’s because each project features large expanses of LED ribbon walls wrapping street-level commercial and leisure programs. And, to varying degrees, these ribbon walls are being programmed with art content in an effort to bring a new form of artistic expression to the street.
The Metropolis project, consisting of a multiphase, multi-tower hotel and apartment complex on a 6.33-acre site, is currently under construction, with the first phase of the project due to finish at the end of 2016. Eventually, the $1 billion-plus development will consist of four towers: Tower I will be 38 stories tall and contain 308 condominiums; Tower II will be 18 stories tall and contain a 350-room hotel; Tower III will be 40 stories tall and contain 514 condominiums; and Tower IV will be 56 stories tall and contain 736 condominiums. This project, designed by Gensler, is much further along in the construction process than the others and, as such, its arts program is starting to come into sharper focus.
The Metropolis project, like the others mentioned here, is subject to Section 22.118 of the City of Los Angeles Administrative Code, “Arts Development Fee Credits” (ADF) provision that requires commercial projects valued at $500,000 or more to pay a fee either based on the square footage of the building or equal to one percent of the project’s Department of Building and Safety permit valuation—whichever is lower—into a fund used to increase access to public art citywide. The ADF fund is administered by the city’s Department of Cultural Affairs, an arm of the city government that maintains a trust fund organized by project address to be used to fund arts initiatives at required sites, as necessary. This “one percent for the arts” approach is common in many California municipalities and is being stretched by this collection of projects to incorporate potentially new definitions of what public art might be in the city.
For Metropolis, arts consultants Isenberg & Associates partnered with project management firm DG Hunt & Associates to find suitable artists for the project. After a lengthy selection process, a team made up of digital media artists Refik Anadol and Susan Narduli was selected for the project. Their work Convergence, a 100- by 20-foot LED wall installation, will be unveiled in January of 2017 as construction on phase one wraps up, creating, the developers hope, an opportunity to introduce the project to the city and local community. Anadol and Narduli describe Convergence as “a generative construct fuelled by data and informed by aesthetics,” a synergy of Anadol’s digitally focused art practice and Narduli’s narrative-infused artwork. The duo wants the artwork—located in a plaza facing Francisco Street on the site’s eastern edge—to “create a lively public space by giving urban activities a new experiential dimension.” They plan to do this by fusing the “real-time demographic, astronomical, oceanographic, tectonic, and climate data streams, as well as social media posts, traffic, and news feeds into a constantly shifting cinematic narrative of Los Angeles.” The project was developed hand-in-hand with the architects as part of the overall design process, and is being deployed as an integrated architectural component of Metropolis.
According to the team’s statement, “Convergence explores new ways of storytelling through an intelligent platform that both expresses and responds to the spirit of the city in a seamless fusion of digital content, public space, and urban life.” The work will be available in situ for pedestrians to experience as part of the new sports and entertainment promenade the developers behind Metropolis hope to extend from L.A. Live to the upper reaches of the financial district. It will be available online, as well as via a mobile-device-friendly website accompanied by real-time audio. Experiencing the work in person will generate changes to the physical manifestation of the art, as the attendant data resulting from proximity, interaction, and occupation become woven into a living digital display.
It’s unclear what pedestrians can expect from the arts programs developed for the other three projects, but if Anadol and Narduli’s Convergence is a guide, expect more lights, more data, and perhaps most importantly, a closer relationship among architecture, digital art, and the public realm.
Pei Cobb Freed & Partners breaks ground on renovation and addition to Yamasaki's Century Plaza Hotel in L.A.
The Playa Vista neighborhood on Los Angeles’s west side is quickly becoming Southern California’s answer to Silicon Valley, as it plays host to a growing contingent of technology-focused companies like Google, Facebook, Yahoo, YouTube, and WeWork. And as capital, brainpower, and new residents flow into the area, so too have big-name architecture firms with high-minded designs.
The Playa Vista tract was originally owned by airline mogul Howard Hughes, who used the ocean-adjacent expanse as the manufacturing facility and airstrip where he built his famous Hercules (Spruce Goose) airplane. President Bill Clinton designated the 1.3-square-mile area as one of six national pilot projects of the Partnership for Advancing Technology in Housing in 1998, and the property began its redevelopment as a mixed-use neighborhood in 2002. In the years since, the 460-acre area, partially master-planned by Los Angeles–based Moule & Polyzoides, has seen its population boom to over 10,000 residents. In recent years, the area has gained the moniker “Silicon Beach,” as technology companies originally based in the nearby communities of Venice and Santa Monica have outgrown their initial outposts, expanding the technology industry’s footprint southward.
Last year, Google signed on to lease 319,000 square feet of space in the Hercules Campus, a complex redeveloped by Brenda Levin and Associates and EPT Design for the Ratkovich Company, including the 200- by 700-foot Hercules building in which Spruce Goose was designed. The team restored the building, adding pedestrian-oriented amenities to the complex while also converting the historic structure into a series of soundstages and tech-friendly offices.
Michael Maltzan Architecture, which designed the eight-acre Playa Vista Central Park in 2010 with Office of James Burnett (OJB), is adding a new 425,300 square foot office complex called The Brickyard. The Brickyard is also beind developed with OJB. The new complex, currently under construction, will feature partially-sunken landscaped parking areas that aim to extend the park outward into the office zones. The office structures, articulated as a maze of stacked, shifted, and offset volumes, are made up of two principal masses: one long office block that bends at two elbows in order to frame the aforementioned parking deck and a singular, six-story office tower. Both buildings feature punched openings as well as a variety of delicately-articulated access points that connect the parking and ground-level areas with what’s above. The complex will include a 9,000-square-foot daycare facility and will help fulfill Playa Vista’s goal of becoming a full-service neighborhood.
Gensler has also been busy at Playa Vista, undertaking the architectural repositioning of four existing office spaces in its Playa Jefferson complex. Vantage Property Investors has announced a tech-focused project dubbed “Building E,” which will encompass another large office structure designed for creative collaboration. The structure, undertaken with 360 Construction Group and AHBE Landscape Architects, will bring 200,000 square feet of open plan creative office space to the district, with large expanses of glass, terraced floor plates, and a cantilevered anchor office space. Li Wen, design director and principal at Gensler, detailed several key aspects of the design, including “side-core configurations that allow open floorplates, direct access to and abundance of private outdoor space, operable windows, sawtooth skylights, thinner floorplates for natural ventilation and deep penetration of natural light, and flat slab construction that provides for 13-foot ceiling heights.” The ocean-oriented project is located adjacent to the “lifestyle amenity-rich” Runway at Playa Vista Apartments by Johnson Fain.
Last but not least, Shimoda Design Group and OJB completed work in 2015 on The Collective, a 200,150-square-foot, LEED Gold office park complex designed for Tishman Speyer that features five two-story buildings clad in distinctive, tilt-up concrete panels (seen at the top of the article). These panels, interspersed with expanses of glass, are topped by zigzagging, metal-clad roofs. The campus connects the humdrum of office life directly to the adjacent outdoor areas via a series of landscaped paths, bringing in the sensitive Ballona and Bluff Creek wetlands that run alongside Playa Vista’s northern and southern edges. With new lease agreements being signed almost by the day and the careful, meticulous process of filling in the district’s vacant parcels fully underway, Playa Vista looks more and more like a sure bet for L.A.’s growing roster of creative offices spaces.
Architect: DDG Location: New York, NY
Acting as design architect, developer, and general contractor, DDG developed a custom, cast-aluminum screen using 3-D modeling software and state-of-the-art hardware. A burlap texture was hand-applied to the set of 12 repeating components before the sand-cast molds were made and the finished components cast. The resulting sinewy surface creates dialogue with the cast iron historic buildings of the area.
Executive Architect HTO ArchitectStructural Engineer Severud Associates Fabricator Walla Walla Foundry RenShape Foundry Pattern & Tooling Board Freeman Manufacturing & Supply Company Aluma Black Birchwood Casey
Honorable Mention, Digital Fabrication: Northeastern University Interdisciplinary Science and Engineering Complex
Architect: Payette Location: Boston, MA
The Interdisciplinary Science and Engineering Complex at Northeastern University is a high-performance research building with a triple-glazed curtain wall and solar veil to help the building exceed 2030 energy savings goals.
Honorable Mention, Digital Fabrication: FilzFelt LINK
Architect: Gensler Location: Los Angeles, CA
Originally created as a one-time solution for Gensler’s Los Angeles office, the company recognized its wider possibilities and partnered with FilzFelt to produce a flexible modular panel system that adds texture and color to an environment while serving as a privacy screen, shade system, room divider, and acoustical element.
The long, low-slung Milwaukee Post Office is not a popular building. The rust-covered Brutalist structure sits along a five-block stretch of the Menominee Riverfront, a place that, until recently, was generally seen as the undesirable backside of the city. But that is all quickly changing. Just east of the post office, the Third Ward neighborhood has been completely transformed in the last ten years. The Menominee River Valley to the west is also seeing new life after over 100 years of being the city’s industrial heart. Now, Chicago-based developers R2, in collaboration with Gensler, are betting on a brighter future for the much-maligned post office.
When R2 bought the building and the surrounding land for $13 million in 2015, it knew it was going to be a long-term project. The United States Postal Service has a lease for its space through 2020, with the option to sign for up to 30 years. Even if the Postal Service were to vacate, the site would always have active train lines running under the building, between its massive concrete piloti. But that is not stopping R2 from planning ahead.
R2 and Gensler recently released new renderings and an outline of their plans for the site. Gensler’s designs call for a major mixed-use development that incorporates office space, residential, and entertainment, as well as small and big-box retail. The site benefits from extensive access to transportation, including ramps from the adjacent elevated freeway, the Milwaukee Intermodal Station, the city’s main Amtrak and Greyhound station, and the now under-construction city streetcar.
“The concerns that are on the site, that in the past have be seen as barriers to development, are now seen as potential drivers for the project,” explained Benjy Ward, Gensler principal and regional design leader. “The market has flipped. The elevated highway that runs by the site and the river have become assets.”
Along with renovating the current building, the project could include two large towers at each end of the site. The east tower would have 282,000 square feet of residential space, while the west tower (along with space in the existing building) would account for nearly one million square feet of office space. The 1,500 feet of riverfront would also be developed as a public promenade and an extension of the city’s growing Riverwalk. Restaurants will line the promenade, and kayak launches and boat docks will connect the project with river traffic. A foot bridge is proposed to connect the existing building to the James Biber–designed Harley Davidson Museum across the river.
Though the Postal Service will remain a tenant in the building for at least the next few years, Gensler’s plans are such that, if given the go-ahead, the project could begin. By working in the currently open land around the building, much of the proposal could be realized without disrupting normal operations.
If realized, the post office project will be one of many changing the face of downtown Milwaukee. Of those projects rising just north of the site, few are as ambitious in scale or program. Yet with at least three years to go before the site could be completely free of its current tenant, the city is going to have to wait a bit for delivery.
Tom Wiscombe Architecture beats out Zaha Hadid Architects and Gensler to redesign the L.A. billboard
Though digital modeling and documentation tools have been an integral part of architectural practice for decades, until recently, visualization tools hewed closely to traditional elements of two-dimensional representation. Several firms and independent practitioners, however, are striving to adopt virtual reality (VR) as a design tool.
At the corporate level, established firms like Gensler and NBBJ are setting up in-house VR departments and standing to benefit from their corporate heft and connections.
NBBJ’s Seattle office recently launched a business partnership with construction industry start up Visual Vocal to incubate and develop what the firm referred to as a “breakthrough virtual reality productivity platform.” The tool aims to streamline the firm’s collaborative design process by allowing clients on-demand access to project information and design updates. NBBJ Managing Partner Steve McConnell described the firm’s approach in a press release: “This partnership will radically shift the way design feedback is sourced and integrated into projects, and the speed at which it can be done. As a result, we can more broadly and deeply engage project stakeholders.… Virtual reality will deepen design discourse and bring together communities in new and exciting ways.”
Gensler’s Los Angeles office has taken the opposite approach, creating a virtual reality department that engages with existing VR technologies, looping the latest design tools into Gensler’s corporate workflow as they come online. Gensler’s San Francisco office utilized VR to create a highly detailed climate model as it designed a new headquarters for computer graphics card maker Nvidia. Alan Robles, experience designer in charge of VR technologies at Gensler’s L.A. office, described the firm’s efforts as an attempt to streamline the use of VR as a design tool, calling VR the “next logical evolution for rendering technologies.” Gensler integrates VR into its workflow early in the conceptual diagram stage while also pairing Unity software with Autodesk Revit later in the process to bring designers and clients directly into a working digital model where design options can be updated in real time.
The firm’s VR capabilities are also being utilized in the ongoing design of the new Los Angeles Football Club stadium in South Los Angeles, where Gensler’s team was able to integrate VR design approaches early into the design process to communicate possible sponsorship opportunities and overall project concept. VR is incorporated into the conceptual design phases, making Gensler’s approach toward VR basically one of normalizing the technology as a design tool. The evolution of project concepts in VR takes off from there, with the technology being deployed as necessary to convey design intent. These efforts result in a custom app made by Gensler’s in-house team that clients can use as a personalized marketing and development tool.
Operating in a parallel stream, a school of emerging designers has taken up VR as a key visualization and production tool.
Güvenç Özel, principal at Özel Office, made use of VR in a recent competition proposal made for NASA. His NASA 3D-Printed Habitat project, runner-up in the competition, creates a VR environment to convey its design intention and functionality. The project, showcased at the Architecture and Design Museum’s recent exhibition, Come In! DTLA, allowed observers to wear VR headsets to explore the scheme: A space capsule 3-D-printed from martian rock and occupied as an operating base for astronaut-explorer scientists.
Özel, who spoke to AN via email, described VR’s potential impact on architecture in no uncertain terms, saying, “The immersiveness of these digital environments are becoming so convincing that they start to exist as environments in their own right. I am convinced that the architecture of our near future involves physical and digital spaces superimposed on each other, and will further blur the lines between what is interface design and what is architectural design.” Designer Devin Gharakhanian, in collaboration with VR specialist Nels Long, presented Room XYZ at this year’s One-NightStand L.A. showcase, utilizing VR to recontextualize an all-white room into a variety of experiences. The project, in a different iteration, places the viewer into a precise, virtual recreation of an elaborately staged room. For the two architecturally-trained artists, the works serve to explore existential architectural issues directly.
Adding to this inertia, is a growing stock of interdisciplinary, VR-focused coworking spaces and organizations that are coalescing across L.A., where the edges of the visualization, filmmaking, and architectural professions run into one another, like Virtual Reality Los Angeles, Navel.la, and RotoLab. With the recent announcement by computing giant Intel of a new collaboration with Microsoft aimed at developing VR capabilities for Windows-based machines and plans to open an L.A. research studio, the future of VR is here—and it’s very real.