- Brian Caldwell, THINKTANK Design Group;
- Joshua Aidlin, Aidlin Darling Design;
- Kiyomi Kurooka, DWL Architects + Planners Inc.;
- John Paquin, Statesville;
- William T. Ruhl, RUHL WALKER Architects.
Posts tagged with "LMN Architects":
On September 30, LMN Architects revealed renderings for a planned $49 million expansion and renovation to the Seattle Art Museum’s (SAM) Asian Art Museum, the first time in the 83-year-old institution’s history that its flagship art moderne structure will be renovated.
The building, located in the city’s verdant Volunteer Park, was designed by Carl F. Gould of the architectural firm Bebb and Gould to house SAM’s original art collection. After SAM’s principal collection was relocated in 1991 to a downtown Seattle flagship designed by Venturi, Scott Brown and Associates, the 1933 building was rechristened as the Asian Art Museum. That move left the original Bebb and Gould building languishing, a product of a bygone era when buildings relied heavily on natural ventilation as a means of climate control and the needs of only a small portion of potential building occupants were considered. As a result, the structure lacks the sophisticated temperature and climate control systems typical for a world-class art institution and is out of compliance with Americans with Disability Act (ADA) legislation.
LMN’s renovations aim to fix those discrepancies and more by rebooting the structure through the addition of a new wing along the existing eastern side containing a 2,650-square-foot gallery for Southeast Asian art, a community meeting room, and a set of new office spaces. The renovation will also add teaching spaces and possibly an Asian art conservation studio. Importantly, the extension will be clad in expanses of glass and aims to increase the connections between the museum’s interior and its park setting.
Regarding the complicated renovation plans for the structure, Sam Miller, lead architect for the project at LMN, said, “On the renovation side, our goal is to be true to the original intent of the building and to transform the [Bebb and Gould structure] into a fully functioning, 21st-century museum while also being entirely respectful of the historic fabric and the design quality the building represents.” He added, “In another way, our work is to make sure you would never know we were there.”
Awarded the 2016 AIA National Architecture Firm Award in December 2015, LMN Architects is having a moment. Perhaps most well known for its large urban projects—convention centers, performing arts centers and urban infrastructure—the Seattle firm has worked out of its downtown Seattle office in the 1959 international style Norton Building for the past 30 years. Founded in 1979, LMN is a one-studio firm with close to 150 employees. Its 40,000-square-foot office spans two-and-a-half floors.
“We believe the best way to comprehensively understand a space is to build physical models,” said LMN partner John Chau. “Models don’t lie...That’s why we like this building. It allows us to have spaces to do that.” The LMN office is mainly an open plan with downtown views, column-free studio spaces, model building areas, and conference rooms. A lower floor hosts LMN’s in-house digital fabrication shop. There’s a dual gantry CNC mill that LMN built about a year ago that features two cutting machines on a single cutting bed.
LMN discussed the challenges of building in the future: With less available land, sites will get smaller, necessitating building more efficiently and vertically to accommodate denser layers—more people, more infrastructure, and more ecology in the same space. “We no longer are just simply architects,” said Chau. “The need for all of us to collaborate more, communicate more, is even more critical—it’s important to know what the city council is thinking about, what its leads are. And it’s going back to being very informed citizens—we have the gift, ability, and the responsibility to help solve a lot of issues that arise.”
Tobin Center for the Performing Arts San Antonio, TX
The performing arts center opened late 2014—an effort to reinvigorate the 1926 San Antonio Municipal Auditorium designed by architect Atlee Ayres that had become outdated. “We built a new auditorium, but rotated the geometry to create a new outdoor space and new entry to the San Antonio River Walk,” said LMN partner Mark Reddington. LMN kept the historic facade and added a new structure, clad in a textured metal veil. The shroud encloses the auditorium and filters the light in different colors and angles. The interior lobby hosts custom tiles that curve in plan and section—each row shifts, creating a negative volume.
Inside the main concert hall, a perforated wood fascia backlit with LEDs allows for an array of colorful effects. The hall can hold up to 1,738 seats and 2,100 people with a flat floor setup. The performance hall also contains the first gala floor system in the U.S. The seats sit on motorized platforms that can fold over, creating a flat floor that can be used for other types of events like rock concerts. Inside the performing arts center is a 295-seat studio theater and the outdoor plaza facing the San Antonio River can hold up to 600 seats.
University of Iowa Voxman Music Building Iowa City, IA
Opening October 2016, the new 180,000-square-foot music school for the University of Iowa will replace the previous one sited along the Iowa River that flooded in 2008. LMN moved the new building 50 feet up the hill, orienting it with the center of the college town. The mostly glass exterior building will hold a 700-seat concert hall, a recital hall with 200 seats, and rooms for pipe organs, classes, rehearsal areas, and faculty. “We wanted to create a building that was an extension of the public experience of the street, so that people could wander in, go to a performance at the music school, or students could come in and visit a professor,” said Reddington.
The building’s small footprint necessitated going vertical, stacking up to five stories of isolated music rooms. LMN developed a theatroacoustics system, a high-performance ceiling system that optimizes acoustics while hiding some of the structural elements such as speakers, microphones, fire sprinklers, and stage lights. “[The theatroacoustics system] was actually a money saving move,” said LMN partner Stephen Van Dyck. “They’re all put together in one gesture. It kind of becomes transcendent beyond any one of those individual pieces,” said Reddington.
Vancouver Convention Centre West Vancouver, BC, Canada
After a series of false starts and shifting sites, LMN knew its design for the west addition to the Vancouver Convention Centre would finally happen if Vancouver won the 2010 Olympic Winter Games bid. The project was included in the bid as the media center. When the architects saw the front page of the Vancouver Sun with the winning news, they knew they would get the green light. “That’s how we knew it was real,” said Chau. The 1.2-million–square-foot convention center addition was completed in 2009. It occupies 22 acres—14 acres on land, eight acres over the water—of what was once a brownfield site.
The convention center boasts a six-acre green roof with 240,000 bees producing honey for the convention center restaurant. The interiors feature local British Columbia wood. The project also supports the maritime harbor ecosystem. “It’s linked into the landscape, habitat, and shore system,” said Reddington. “There’s a marine habitat that goes around the edge of the building and underneath.” LMN used the concrete loading dock as the infrastructure to support a reef, said Van Dyck.
Sound Transit U Link University of Washington Station Seattle, WA
LMN designed the University of Washington light rail station and surrounding open space that opened in March 2016. The boarding platform can accommodate up to 1,600 people. “We had to link in all of this stuff—a bridge, a bicycle pathway, a head house, escalators, stairs, and then the station block underground that is 500 feet long,” said Reddington. Perhaps the most challenging, but rewarding, part of the project was designing the smoke chamber. “For fire requirements you have to create a big smoke chamber,” said Reddington. “If there is a fire somewhere, it helps isolate the fire so people can get out and not have smoke running all the way through the entire station.”
LMN worked with Seattle artist Leo Saul Berk, who created “Subterranium,” an installation made with nearly 9,000 square feet of custom deep blue metal backlit panels that wrap the smoke chamber. The panels tell the story of the site’s geology. “By integrating a lot of things into a single system, you have the capacity of one system to solve many problems—like a smoke enclosure that is now the main sculptural expression of a subway station,” said Van Dyck.
Playful op-art beats out fifty shades of gray in competition to design new Los Angeles Convention Center
Here are three bold designs from winning teams that completely reimagine the Los Angeles Convention Center
A digitally-designed medical products showroom plays well with its City Beautiful neighbors.The Global Center for Health Innovation, designed by LMN Architects along with the attached Cleveland Convention Center, is more than a showroom for medical products and services. Located adjacent to the Burnham Malls, the open space at the heart of Daniel Burnham’s Group Plan of 1903, the building is part of Cleveland’s civic core. “One of the things about the Global Center is that it has a unique expression and in particular the facade treatment,” said design partner Mark Reddington. “But it’s also a really integrated piece of a bigger idea and a bigger composition.” A dynamic combination of textured concrete panels and irregular slashes of glazing, the Global Center’s facade, which won honorable mention in AN’s 2014 Best of Design Awards, deftly negotiates the gap between the building’s historic context and its function as a high-tech marketplace. The Global Center’s City Beautiful surrounds influenced its facade design in several ways. “Part of the trick for us in looking at the Global Center,” said project architect Stephen Van Dyck, “was to try and make a building that was contemporary and relevant, but also a building that referred and deferred to its context materially and compositionally.” As a reflection on the solidity of the older structures ringing the Malls, the architects minimized glazing in the east face’s concrete system. In addition, they chose the color and aggregates of the concrete to mimic the tone of limestone. The texturing on the concrete panels, too, was informed by the Global Center’s context. “Like the classical buildings, there’s a lot of detail that shows up in different lighting conditions,” said Reddington. At the same time, the Global Center is very much a product of the 21st century. “There was an explicit intention in creating a facade whose qualities would not have been achievable without digital technology,” said Van Dyck. “It doesn’t look like it was handcrafted. It was primarily an exercise in allowing the technical means of creation and design to live forever on the outside of this building.” In particular, he said, the architects were interested in how their chosen material—precast concrete—allowed them to move beyond a punched-window system to a more complicated relationship between solids and voids. The result eventually became a scientific metaphor, as the designers observed the resemblance of the pattern to the twisting helices of a DNA molecule. LMN developed the facade design on a remarkably short timeline: about four months from concept to shop drawings. “The schedule requirements of the whole thing were absurd,” said Van Dyck. To make modifying the design as easy as possible, the architects developed a utility called Cricket to link Grasshopper and Revit. The ability to update the BIM model in real time convinced the design-build team to take risks despite the compressed timeframe. “Once they realized there was a strong mastery of the data, an ability to listen and incorporate the needs of [multiple] parties, that was really the breakthrough,” explained Van Dyck. “They said, ‘Hey, we can build something that’s a little unconventional.’” Besides their Cricket plug-in, a 3D printer was LMN’s most valuable tool during the design process. To explore how the panels’ texturing would animate the facade under different lighting conditions, they created plaster models from 3D-printed casts. “We had to do that because the geometry was so complex that we didn’t have any computers at the time that were capable of [modeling it],” said Van Dyck. “For us, working between the physical, digital, hand-drawn renderings were all so critical in discovering what we ultimately ended up building.” Sidley Precast Group fabricated the concrete panels with a surface pattern of horizontal joints that vary in depth and height. To minimize cost, the fabricators made almost all of the molds from a single 8-by-10-foot master formliner, with horizontal ribs spaced every 6 inches acting as dams for the smaller molds. While LMN Architects originally wanted to limit the number of panel types to eight, the final count was around 50, including larger pieces made by connecting smaller panels vertically. The approximately 400 precast panels were moved by crane to a system of vertical steel tubes running from slab to slab, then welded into place. The Viracon glazing was welded to the same tubes, a couple of inches back from the face of the concrete. The large atrium window on the building’s east face was manufactured by NUPRESS Group. For the architects, the significance of the Global Center’s facade remains tied to its broader context. Its design, while driven by modern technology, achieves a surprising degree of harmony with its surroundings. “Our building is in a way very classical, though it wasn’t an explicit intention of ours,” said Van Dyck. “To create a language that was both universal and also something that was really new—from our perspective that was a big achievement of the project.”